FEBRUARY FEBRUARY12-18, 12-18,2014 2014 I I VOLUME VOLUME39 39 I I NUMBER NUMBER77
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Divas, Divas, dance, dance, atomic atomic art, art, and and more. more. The The new new season season begins begins with with Anki Anki Albertsson Albertsson at at Teatro Teatro ZinZanni. ZinZanni.
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SEATTLE WEEKLY • FEBRUARY 12 — 18, 2014
inside» February 12–18, 2014 VOLUME 39 | NUMBER 7
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A BUDDING MARKET
EDITORIAL
BY DREW ATKINS | Are cannabis-
Senior Editor Nina Shapiro
related stocks the next big thing?
Food Editor Nicole Sprinkle
5 | SEATTLELAND 7 | SPORTSBALL
arts&culture 9
Editor-in-Chief Mark Baumgarten
SPRING ARTS GUIDE BY SW STAFF & CONTRIBUTORS
From minstrel shows to nuclear cooling towers, we preview the significant work being created by half a dozen local artists for the new season. They’re full of global ambition, with shows, books, and artwork that reach to Sweden, Bolivia, Japan, and beyond. All that, plus our huge-ass calendar of arts events (see page 21), running past Memorial Day into summer. 43 | PICK LIST 45 | OPENING NIGHTS | Spamalot; an
A.A. Milne comedy; and tangled racial legacies in Seattle, circa 1958 and today. 47 | PERFORMANCE/EAR SUPPLY 48 | VISUAL ARTS
49 FILM
OPENING THIS WEEK | Colin Farrell
in the year’s dopiest movie to date, and the return of RoboCop. 50 | FILM CALENDAR
The Pixies: They’re making new music, whether you like it or not. Also: a hip-hop anniversary and dance pop from Louisiana. 55 | SEVEN NIGHTS
food&drink
Editorial Operations Manager Gavin Borchert Staff Writers Ellis E. Conklin, Matt Driscoll, Kelton Sears Editorial Interns Margery Cercado, Colleen Fontana, Imana Gunawan Contributing Writers Rick Anderson, Sean Axmaker, James Ballinger, Michael Berry, Sara Billups, Steve Elliott, Margaret Friedman, Zach Geballe, Dusty Henry, Megan Hill, Robert Horton, Patrick Hutchison, Sara D. Jones, Seth Kolloen, Sandra Kurtz, Dave Lake, John Longenbaugh, Jessie McKenna, Terra Clarke Olsen, Kevin Phinney, Keegan Prosser, Mark Rahner, Michael Stusser, Jacob Uitti PRODUCTION Production Manager Christopher Dollar Art Director Karen Steichen Graphic Designers Jennifer Lesinski, Sharon Adjiri Photo Interns Joshua Bessex, Kyu Han ADVERTISING Advertising and Marketing Director Jen Larson Advertising Sales Manager, Arts Carol Cummins Senior Account Executives Krickette Wozniak Account Executives Peter Muller, Sam Borgen Classifieds Account Executive Matt Silvie DISTRIBUTION
61 KOREAN COMFORT
Distibution Manager Jay Kraus
& Heeltap, homey staples with an Asian accent.
Administrative Coordinator Amy Niedrich
BY NICOLE SPRINKLE | At Brimmer
61 | FOOD NEWS/TEMP CHECK 64 | THE BAR CODE
odds&ends
51 | THE GEEKLY REPORT 65 | TOKE SIGNALS 66 | CLASSIFIEDS
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ton Athletic Club, dozens of respected investors gathered in January 2013 for a business conference that a decade earlier would’ve been unimaginable. The subject was pot, and the company was mainstream: Then-mayor Mike McGinn gave a speech and a reporter documented the proceedings for a Fortune cover story. The meeting’s purpose: for potential investors to hear pitches from potfocused companies. “For many investors, the end of weed prohibition is no longer a question,” says Troy Dayton, CEO of angel-investor network Arcview Group and organizer of the meeting. “When you see the President and possible Republican candidates [for
Along with legal weed comes a budding marijuana stock market. BY DREW ATKINS president] trying to beat each other to the punch to sound reasonable on pot, when you see legalization’s [favorable] poll numbers jump 10 points in a single year, prohibition doesn’t have a long-term future.” Skeptical of most pot stocks, Dayton says the best investment opportunities remain in private companies—for example, Seattle-based Privateer Holdings, which raised over $7 million last summer to acquire pot companies and counts a former DEA agent among its management. Privateer Holdings’ most prominent acquisition so far has been Leafly, a Yelp-style online review service for dispensaries and weed strains. “The stocks out there aren’t bad, some of them, but it’s dicey investing overall,” Dayton says. “It’s important to do your homework.” Someone doing a lot of that homework is Alan Brochstein, an investment consultant since 1986 and columnist for respected investor website Seeking Alpha. Last year Brochstein launched 420 Investor, a professional, for-pay newsletter advising investors on the opportunities and land mines of the pot-stock market. Brochstein spends an inordinate amount of time analyzing every pot stock he can find, of which he counts 42 currently. Only a small percentage of those companies have solid prospects for success, he says, but that’s normal in a budding industry. “I was on Fox Business Channel recently, and it’s funny, because they really misrepresented me,” Brochstein says. “I was trying to give a balanced view of the market, and they ran it under the tagline ‘Pot Stocks are Bad’ . . . That’s the easier narrative, I guess.” As he sees it, the market of pot stocks “isn’t really an investor’s market right now. I wouldn’t advise Granny to enter it. . . . This is a trader’s market, for people who keep an eye on things and do their due diligence. If you trade right, there’s real returns to be had.”
news@seattleweekly.com
THE WEEKLY BRIEFING | What’s going on at seattleweekly.com: Did Huskies quarterback Cyler Miles—originally from the Denver area—beat the crap out of a Seahawks fan after the Super Bowl? Possibly . . . The Sawant Effect: Low-dollar contributions in 2013 City Council races nearly doubled. A Seattle Times editorial railing against media consolidation may have inspired a “hit piece” from KOMO, which is owned by the Sinclair Broadcast Group. Ed Murray is shaking up the City of Seattle Office of Film and Music. Why?
a
•
•
•
The Fan Who Became a Statistic
C
hase Houston made Seattle history as the first fan to catch a home run ball hit into the Safeco Field stands. A committed Seattle sports fan, he was also a 12th Man to the core—“He wore Seahawks gear down to his socks,” said a friend. “It wounded him when they lost.” Not literally, of course. Police bullets did that, mortally. Two months ago, a life of mostly fun and games ended in gunfire at Houston’s storage locker in Spanaway. Police were called after the 30-yearold father of two BY RICK ANDERSON began Biblically ranting on his Facebook page. He announced that God was talking to him. And that he was Jesus Christ. “God just recorded a rap song with me,” he said in one of a series of rambling posts from his laptop. “We are going to change the world.” Jobless and camping out in the storage unit, Houston was typically a 300-pound gentle giant, family and friends would later say at his memorial service. “He was a big charmer,” friend Krista Myers told mourners wearing Seahawks garb in Houston’s honor. But he’d begun to scare people, including his wife. The couple had split a few weeks earlier, and he was calling and threatening her. He told her she was “the devil and [she] will burn in hell and God wants my daughter,” she said. He was also smoking meth.
SEATTLELAND
“He’d lost his wife and kids, was on drugs, was angry. He wasn’t himself in any sense,” his father says. “He had no record, he was a good kid.” On December 3, his wife sought a restraining order. He’s a gun collector, and, she noted in court papers, “is not stable at this moment.” By late that afternoon, after a Pierce County Sheriff ’s SWAT unit arrived at Garage Plus Storage on Mountain Highway East, the protective order was moot. Her husband was dead. Television and news reports called it a standoff. They said Houston fired first and might have taken his own life. Sheriff ’s spokesperson Ed Troyer tells me, “Remember, he shot first hitting one of our deputies in the chest. Thanks to his
SE ATTLE WEEKLY • FE BRUARY 12 — 18, 2014
Under the roof of Seattle’s prestigious Washing-
Highs and Lows
Only two pot-related stocks are currently listed on the NASDAQ: GW Pharma, a biotech company focused on cannabinoid products and partnered with industry players like Bayer, and Full Circle Capitol, which invested millions in Seattle’s Privateer Holdings recently. But the rest, Brochstein says, are on the over-the-counter market. If playing the stock market is like gambling, the New York Stock Exchange is Caesar’s Palace—full of dealers operating under specific guidelines and gamblers who know what they’re doing. The OTC market, by contrast, is an underground boxing match in Bangkok—a borderline-lawless atmosphere and plenty of sketchy characters, and the people walking out with the most money are usually fixers. Robert McVay is a lawyer at CannaLaw Group, a Seattle-based firm that specializes in marijuanarelated cases. He gets calls all the time from people who bought shares in a pot-related company only to find it was millions in debt or existed simply to separate suckers from their money. “Just because a company’s listed ‘over-thecounter,’ it doesn’t mean they’re up to no good,” he says. “They could be doing it to get funding, and to get an idea of their market valuation. The problem is this is a new and exciting market for people, and there’s lots of new investors without much history. They make bad choices.” More bad choices are to come, most likely. 2014 will be the year of pot-stock bubbles, in Brochstein and Dayton’s estimation. The next will come when Washington state opens its recreational-weed stores, currently scheduled for this summer. As CNN cameras flock to Seattle’s 21 new marijuana stores, another wave of hype will hit. In November, when more states vote on both medical- and recreational-marijuana laws, another horde of amateur investors could enter the market. But these booms and busts are just growing pains, Dayton says. As the business of pot becomes more legitimate, so will the people involved. It’s currently illegal for a bank or credit union to deal with a marijuana grower or retailer. Everything is done in cash. Legislation recently co-sponsored by Washington state congressman Denny Heck would change that, and could open the floodgates to big investments, weed-related business plans that are on the level, and stocks with real futures, even on the OTC market. “You’re going to see a lot more publicly traded companies in the next year or two, and more and more, it seems the new stocks are doing business the right way,” Brochstein argues. “This is the beginning of something huge, right now. And there’s something to be said for getting in on the ground floor, if you do it smart.” E
RANDY HOUSTON
A
mateur investors are known to get high on hype. And as 2014 rolled in, they were presented an unusually appropriate source for it. For years, companies tied to the marijuana industry have been trading on the over-thecounter (OTC) market—home to so-called “penny stocks,” where listing standards are almost nonexistent and stock prices can fluctuate drastically day by day. Investors could buy shares in companies like MedBox, which sells fingerprint-activated “weed safes” to retailers. Then there was Advanced Cannabis Solutions, which connects ganja growers with land leases, and Growlife, which sells them growing equipment. The list stretched on. These “pot stocks” mostly flew under the radar until this past January, when the nation’s attention shifted to Colorado for the opening of the country’s first recreational weed stores. Almost instantly, pot stocks that had spent December scraping 52-week lows were skyrocketing, sometimes ascending over a thousand percentage points. Most of these stocks have since sunk back to roughly their previous levels. What had occurred was obvious: Rookie investors saw reports of jampacked stores in Colorado, decided weed businesses were a fast track to riches, and threw money at pot stocks like they were going out of style (which many quickly did). Coverage of this surge has mostly presented it as a cautionary tale or played it for laughs. Daytraders must have been stoned to invest in some of these companies, pundits said, and reasonable people should stay far away from weed-related investing for a few years until the market’s established. However, recreational weed shops will soon opening in Washington state; legislation is before Congress to ease relations between bankers and pot businesses; and Bloomberg Industries estimates legal weed could yield $35 billion to $45 billion in sales annually. Is there really no reason to be bullish on pot stocks right now? Did the first pot-stock “bubble” yield no more useful lesson than “stay away”?
» CONTINUED ON PAGE 7 5
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news&comment» The Fan . . . » FROM PAGE 5 vest, he survived.” Houston had been smoking meth for two days, said Troyer, and had threatened to kill his wife—“and told us he would do it. At that point we needed to confront him.” Troyer couldn’t provide other details; a final report on the shooting is still being prepared, he says. (That’s also the case with the fatal shooting of another suspect by a deputy in Spanaway a week ago. While being arrested on a warrant, Michael Bourquin, 21, reportedly used pepper spray on deputies and was shot four times, according to news accounts.) Chase Houston’s father thinks he can fill in some of the blanks about his son’s death, however—a version different from the sheriff ’s. “They fired first, not Chase,” says Randy Houston, who was at the scene when Chase died and has talked with a detective handling the case. “The detective told me the SWAT team shot him in the stomach with a rubber bullet. He had been standing there talking to them at his door.” Though stunned, Chase ran up a stairway to his loft (the carpeted two-level unit held Chase’s small studio where he recorded rap songs). He returned with a handgun and began shooting, Randy says he was told. When the smoke cleared and the team entered, Chase was dead from police bullets. “They have security video of him,” Randy says. “The detective said one of the bullets hit him in the neck. He said he suffered for a while. They said I wouldn’t want to watch the video.” The father says a toxicology report he obtained shows a high level of meth in Chase’s system, along with marijuana and traces of oxycodone. “He’d lost his wife and kids, was on drugs, was angry. He wasn’t himself in any sense,” Randy says. “He had no record, he was a good kid.” Randy understands that Facebook friends were concerned about Chase’s welfare, and urged caution: If police or anyone tried to touch him, Chase had posted, “I will rip out your throat.” “But they checked on him the day before and all was OK,” says Randy. “They came back the next day and then they called in SWAT. They knew they were dealing with an unstable person. I think they overreacted. Someone in that state, you shoot him with a ‘less-lethal’ bullet, as they call it, and you don’t know what’ll happen. I asked to talk to him and they wouldn’t let me.” Randy says he can’t get his head around the senselessness of it all. “I just wonder what he was thinking when they shot him. Did he realize why they were there, who they were?” At a memorial service in Bonney Lake a day before the Seahawks played the 49ers in the playoffs last month, fellow 12th Man fans filled the pews of New Hope Community Church. “He was a big, lovable guy, he grew up with my son,” remembered Renee Olson, a best friend of Chase’s mother, who died from cancer when he was young. A video of Chase’s life flickered past—childhood days, playing sports at Puyallup’s Emerald Ridge High, on vacation with his wife and children. It was a movie with a sad ending. Still, said a friend, “A man’s faults can’t sum up his life.” E
randerson@seattleweekly.com
Journalist and author Rick Anderson writes about crime, money, and politics, which tend to be the same thing.
CITY ARTS PRESENTS
Re: The Mariners Parade
F
rom: Mr. Johnson, CEO, ABC Widgets To: All Employees With the Mariners’ 2014 World Series championship parade planned for Wednesday, I wanted to remind you of recent changes to the company’s time-off policy. If you anticipate another “24-hour flu” like on the day of last February’s Seahawks parade, know BY SETH KOLLOEN that all such absences must be accompanied by a doctor’s note. This may seem as harsh as a Felix Hernandez curveball, but I have a widget factory to run here, and I can’t do it without you. Now I’m all for celebrating this unexpected championship. When the Mariners reported to spring training on February 12, exactly one week after the Seahawks’ parade, Vegas would’ve
SPORTSBALL
It sure would be fun to see highlights of the Mariners’ Series sweep on the huge Safeco Field video board. given you 30–1 odds on their chances of bringing Seattle another title. The M’s weaknesses from 2013 still remained: Not enough offense. A shaky bullpen. Poor outfield defense. Weak starting pitching. But through free-agent acquisitions, player development, and simple good luck, the Mariners patched together a contender. That anemic offense became strong, keyed by high-priced free-agent hitters like Robinson Cano and Corey Hart, and improving young players like shortstop Brad Miller. The signing of free-agent closer Fernando Rodney solidified a talented young bullpen. And Franklin Gutierrez avoided major injury for the first time in four seasons; his speed in centerfield let the M’s get away with playing all-bat, no-glove corner outfielders like Hart and Logan Morrison. The M’s never could find a decent fourth or fifth starter, but once they snuck into the playoffs, it didn’t matter. Hernandez, Hisashi Iwakuma, and rookie Taijuan Walker were a 1-2-3 punch that no playoff opponent could match. Why wouldn’t you want to show your appreciation to the young players who finally reached their potential, like Justin Smoak (35 homers) and Dustin Ackley (.320 batting average)? Heck, I’d love to go down to the parade to cheer on my personal favorite, Willie Bloomquist, the Kitsap County boy who put the M’s in the Series with his Game 7 pinch-hit walk-off grand slam against a recently un-retired Mariano Rivera. It sure would be fun to see highlights of the Mariners’ dominating Series sweep on the huge Safeco Field video board. After all, over the four games, they outscored Colorado 43-8. So while all employees are required to work during the parade, I’d like to announce that my distant cousin Floyd died recently, and the funeral is the same day. At 11 a.m. And I’ve heard cell phone service is really bad where the funeral is. But I’ll see you all on Thursday. E
sportsball@seattleweekly.com
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Let the New Season Sprout By the time you get to the end of our huge-ass calendar of events, the sun will be shining and warm.Think of it!—Folklife and SIFF underway, June just around the corner, the Mariners playing, the as you’ll read in the pages ahead, there will be shows to see at Teatro ZinZanni, Spectrum Dance Theater, and Satori Group; Julia Tai will be waving her baton at Philharmonia Northwest and the Seattle Modern Orchestra; Peter Mountford will be touring the U.S. with his new novel; and Etsuko Ichikawa and Gary Hill will complete their current gallery shows and be making new art. So summer will have to wait a little longer; there’s much to see before then. Brian Miller T E AT R O Z I N Z A N N I ’S A N K I A L B E R T S S O N , P O R T R A I T BY R I C K DA H M S
SE ATTLE WEEKLY • FE BRUARY 12 — 18, 2014
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Foreign Exchange
Sweden’s formidable musical export, Anki Albertsson, stars in Teatro ZinZanni’s new show. B Y G W E N D O LY N E L L I O T T
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f you’ve ever set foot in the Teatro ZinZanni tent, one word comes to mind: sumptuous. Velvet upholstery, heavy drapes, and dark woodwork accent the foyer, cast in rich colors against muted lighting. The “Spiegeltent” itself is a century-old antique from Belgium, where TZZ performers are drawn from the finest cirque ensembles in America and Europe. And this is where TZZ’s latest food-andvariety show, On the Air, opened two weeks ago. The aesthetic suits the voice of Swedish chanteuse Anki Albertsson. Smoky and rich, her lilting accent makes you think of Marlene Dietrich’s, only warmer. (She’s fluent in English, natch.) When she sings—one of her many stage talents—there’s a hint of Édith Piaf in her inflection. It’s no coincidence that both Dietrich and Piaf spent time in the cabarets of Europe—as did Albertsson. “How did I come to this crazy tent?” Albertsson wonders during a recent chat at the venue. “Well, I was working as the leading lady at Lido [a famous cabaret in Paris], and I met [ZinZanni alum] Tobias Larsson, a Swedish guy. He said I should come, I would love it here.” She was promptly cast as Frigg, wife of Wotan, in last year’s meandering, Nordic-themed epic Dinner at Wotan’s, (very) loosely based on Wagner’s Ring cycle. Larsson played her son, Thor. Albertsson’s real family, a husband and two teenage children, lives back in Stockholm. An artistic streak runs through it, she explains. “Far away on my father’s side, we have Ingrid Bergman,” says Albertsson, who started singing when she was 6, growing up in a small town in the south of Sweden. She had “a fantastic voice teacher who didn’t try to push me to some classical kind of thing.” When she was 14, she discovered theater, then musical theater. “I thought, ‘This is fun.’ When you can do both [singing and acting] at the same time.” She quit school at 17 and became active with a musical-theater show group, then studied dance at the ballet academy in Gothenburg. These studies provided the cornerstone for her multifaceted career on TV and concert and cabaret stages. All told, Albertsson can act, sing, dance, and play guitar and piano, and even wrote her own play— a dramatic rendering of the music of Kurt Weill, one of her favorite composers, titled BerlinParis-Hollywood. Her voice has been featured in English-to-Swedish dubbed movies including Wreck-It Ralph, Herbie, Hercules, and Puss in Boots. On the musical stage in Stockholm, she’s performed in A Chorus Line, Chicago, and—of course—the ABBA-inspired musical Mamma
Mia. (Albertsson even knows ABBA’s Benny Andersson and Björn Ulvaeus—“so sweet, they’re just like normal guys,” she says of the famed songwriting duo.) But the TZZ dinner/circus extravaganza-in-the-
round is a new challenge for the self-described “restless” performer. “We don’t have this kind of theater in Sweden,” says Albertsson. “Here you have to be in the middle of the audience. You have to be available all the time. Here you play in the center, always having to work [facing the audience].” Albertsson enjoys the collaborative process of developing story lines with her dozen-odd fellow performers—acrobats, jugglers, comics, and the like—in On the Air’s musical and nostalgic salute to the radio days of yore. “You’re much, much quicker here,” she says. “When I came here, people said ‘Yes’ a lot. I like that. In Sweden, people are like, ‘Let’s think about it . . . ’ I’m like, ‘Can we just do it and try it?’ That’s what I like about [working in] the U.S. I learn by watching the comedians here, they’re always working with the audience. And I love watching the circus people every night. Their bodies, their dedication . . . I’m so impressed.” On her few days off, Albertsson enjoys walking around Seattle, looking for signs of our Scandinavian heritage: “It’s a little bit Nordic here. I see Swedish names everywhere.” As there will be in the audience, too. E
gelliott@seattleweekly.com
TEATRO ZINZANNI 222 Mercer St., 802-0015, zinzanni.com/seattle. $108 and up. Runs Wed.–Sun. Ends June 1.
Shards & Signifiers
Gary Hill is not a glass artist. So why is he working with glass? BY B R IAN M ILLER
A
moved by some impish gallery visitor and associated with different names? “Perhaps,” he says, sounding indifferent to the hypothetical problem. Of the semantic association between blob and name, he continues, “The more you look at them, the more convincing they become. They’ve been paired.” Pointing to one example, he asks, “How could that be anything other than a ‘Yoffa?’ ” Rather than making glass art, says Hill, the process here is “sort of an undoing.” And when relating his fish-out-of-water experience at Pilchuck—where he also supervised the reproduction of a 20-year-old video installation, now made of glass and retitled Inasmuch as It
February 7th and 8th Friday & Saturday 10 am -6 pm
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Has Already Taken Place—Hill is careful to wag his fingers in air quotes when discussing, quite unseriously, “glass as a conceptual thing.”
LOVE Your HEART!
Also prominent in the main gallery are two large
and unbroken vessels, created at Pilchuck under Hill’s direction, which depict the infamous atomic bombs dropped on Nagasaki and Hiroshima: Fat Man and Little Boy. Those names, so benign and almost comical, were invented by some forgotten scientist at Los Alamos. The association is arbitrary, as in ALOIDIA PIORM, but terrible. A duplicate of Fat Man will be dropped and destroyed this Saturday in a public event (3 p.m., Rainier Oven Building, 1419 S. Jackson St., safety glasses required). The clear-glass bomb will be shattered into fragments, yielding pieces that would fit right in with those of ALOIDIA PIORM. Fat Man will be gone, its linguistic meaning erased and replaced with . . . what? Nam Taf? In this way, destruction becomes a kind of creation, yielding a new set of terms. The drop will be filmed with a super-highspeed camera by Hill, who’ll then create a slo-mo video of their destruction. “It’s all about the anticipation of the fall of the bombs,” says Hill. E
bmiller@seattleweekly.com
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rtists belong to various different tribes and schools. There are painters, sculptors, and photographers; then the subdivisions sprout and branch into Pop, conceptualism, landscapes, figurative . . . The categories go on, ad infinitum. Where you belong depends on where you’re trained, what your medium is, and who your friends are. Gary Hill’s long career has landed him in the conceptualist/new media/video camp. His installations, prominently featured at the Henry two years back, explore language and perception, systems of meaning and sensory disassociation. Phenomenology, yes; glass-blowing, no. Yet, as Hill explained during a recent conversation at his new show at James Harris Gallery, called ALOIDIA PIORM, he was unexpectedly invited to do a residency last summer at the Pilchuck Glass School. “I’m not a glass guy. It was pretty new to me,” says Hill, who recalls telling his hosts, “I’d be happy to come, but I didn’t want to make anything.” Instead he videotaped the making of one glass vessel, and now the video is projected into it, in a small piece called Klein Bottle With the Image of Its Own Making (after Robert Morris). The warped 2011 video projection Sine Wave, which some may also recall from the Henry, is also on view, but the show’s centerpiece is a collection of some 250 broken glass fragments and rejects from Pilchuck—essentially the refuse and mistakes made by student glass artists. This is ALOIDIA PIORM, the two titular nonsense words being among the made-up lexicon Hill devised to label each piece of glass. “They have these recycling bins [of glass] that are normally melted down,” Hill explains. After gleaning the clear-glass scraps—spindly, blobby, sharp-edged, most of them palm-sized—he named them all in a few days. Some examples: Blonal, Choren, Golb, Vulphio, Noxu, Optax, Spoin . . . they read like Dr. Seuss rhymes or the sound-effect bubbles on the old Batman TV show. You could imagine them as alien words used in a cosmic Scrabble game on a distant planet. How did Hill devise this dream-world nomenclature? “It’s a complicated process, a continuously varying system . . . a synesthesia system. There’s never a singular method.” Some terms he invented, others came via word-generation software. “They’re not really names, because they’re not really words,” says Hill, “It’s toward naming.” Would he even notice if the glass fragments were
Arman Trunk Show
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Finding the Right Size
One of Seattle’s newest and most acclaimed young theater companies, The Satori Group is expanding its intimate approach. BY J O H N LO N G EN B AU G H
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Satori, which came to Seattle in 2008 and now
numbers eight core members, is the result of an unofficial academic exchange program: Theater students at Williams College and the University of Cincinnati’s College Conservatory of Music made contact through mutual friends. It wasn’t an immediate meeting of minds, says Alex Matthews, who came from the Massachusetts side of the equation: “Williams is filled with fiercely intelligent liberal-arts types—it’s theater grad school at a high-octane level. That’s great, but the fact that it’s so heady and isn’t about the practicalities of craft is a point of pride for them, which is naive but charming. But the people who went to CCM, they’re these Arabian stallion thoroughbreds, trained in practical technique for professional work. We wanted to take these two approaches and make them whole.”
already demonstrated a clear aesthetic and a shared physical style.
Satori continued to earn critical praise with two subsequent shows in a Pioneer Square loft, Fabulous Prizes and Winky (the latter based on a George Saunders story). The company then moved last year to the Inscape Building, the artist warren once called the INS Building on the street previously known as Airport Way, in the ID. There they began crafting shows as immersive art installations, like 2013’s ReWilding, a collaboration with playwright Martyna Majok, which transformed their digs into an honest-to-god forest, complete with soil that the company trucked in. This intense reimagining of space, which creates the effect of an entire world
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TOWN HALL photo: Steve Dubinsky
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n the cheap, subversive, and willfully experimental world of fringe theater, there are few unexamined preconceptions, but here’s one: You want as many people as possible to buy tickets and see your show. There are few moments giddier than when the 49 seats in the house are full and the stragglers are placed on bar stools and floor cushions. A small, dark room is infused with the electricity of an expectant amphitheater. But selling out shows is a preconception that The Satori Group is challenging From left, Satori’s Matthews, Friedman, and Sullivan. directly. “We’re interested in Two decisions resulted: After graduating in plays that get their power 2007, the artists would train together, and they from intimacy,” explains Spike Friedman, whose would all move somewhere entirely unfamiliar. new play Returning to Albert Joseph opens in “We wanted to get someplace where we had no May. “We talk about a million people watchcontacts, no family, no friends. Because we knew ing a 10-minute video pretty regularly now. As if it was going to work, it was going to be tough. theater makers, we aren’t going to win in scale. It could only be about the work,” explains MatBut maybe we can win in power of experience. thews. “No L.A., New York, or Chicago.” We can have genuine impact on the few people, The company made its Seattle debut in 2009 maybe only the one person, who see [a show].” at Washington Ensemble Theatre with a Tragedy: Lest you consider this snooty self-justificaa Tragedy, Will Eno’s poetic deconstruction of a tion for small audiences, Satori has proven itself typical evening’s newscast. To me, it was miracuthoroughly committed to the idea of intimate lous in the confidence and daring of an unknown theater that “you feel in your gut,” says Friedensemble of actors. Despite such youth, this was man. For the past two years, the shows proa group of artists who already demonstrated a duced by this ambitious theater collective have clear aesthetic and a shared physical style. Later included “Micro-Dramas,” wordless theatrical that year, Artifacts of Consequence was even more experiences designed for a handful of viewers. impressive, a taut script by New York playwright “These shows would only have, total, maybe Ashlin Halfnight about an unexpected visitor to 16–20 people seeing them a night,” explains a post-apocalyptic bunker under Elliott Bay. Satori artistic director Caitlin Sullivan. “That allows you to have a connection with your audiDespite such youth, this ence that is completely different from any other experience. You build a world for each person to was a group of artists who inhabit on their own.”
behind the plays, will again be part of Returning to Albert Joseph, set in a dystopian future where an underground resistance struggles to regain language from a violent regime. Having its own larger venue, which seats up to 100, now allows Satori to more easily schedule the long-form development processes so integral to its work. ( Joseph has had multiple workshops since Friedman’s first draft in 2010.) Yet too much time in the rehearsal room can be a trap, says Matthews, who’s directing Joseph: “We try and remember that getting our work in front of an audience is when the work actually begins. It doesn’t have to be finished, or we don’t have to be happy with it. But we’re always trying to build something we would want to watch.” “Things can get over-workshopped and watered down,” adds Sullivan. To counter this, they’ve developed events like Play. After a reading, audience members are provided with multiple methods to give honest feedback—including notes, refrigerator-magnet poetry, videos, or just hanging out with a beer and chatting with Satori members. “There’s a difference between honestly asking for feedback and just pretending to get it,” says Sullivan. But while Satori wants an intimate connection with its audience, it’s also looking to grow that audience. “It was charming for a while to have more people who had heard of our work than had seen our work,” says Sullivan. “That’s not true any more. I want people to not just hear about us, but to see us.” After Joseph’s premiere, there’s talk of touring and even restaging prior work. Given how good that work can be, that’s great news for audiences interested in theater that’s microcrafted, meticulous, and intense. E
stage@seattleweekly.com
RETURNING TO ALBERT JOSEPH Inscape Building, 815 Seattle Blvd. S., satori-group.com. $15. Runs May 2–25.
Nuclear Echoes
From Fukushima to Hanford to Satsop, artist Etsuko Ichikawa feels the reverberations. BY KELTON SEARS
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or two and a half days, Seattle new-media artist Etsuko Ichikawa didn’t know if her parents were alive or dead. On March 11, 2011, the day an earthquake and tsunami hit Japan, her husband told her she should turn on the TV. “I had no idea what I was watching,” Ichikawa recalls during a recent sit-down chat. “It said ‘Breaking News,’ with these devastating images of a tsunami eating into Japan. I thought it was a scene from the movies, or digitally made images. I immediately froze.” Ichikawa, a Japanese native, couldn’t reach her family in Nagano due to downed phone lines. Since her parents aren’t computer users, e-mail and Facebook were useless. So she waited in limbo, watching the news, seeing the nuclear power plant in Fukushima swamped and imploding. Finally, two and a half days after the disaster struck, she heard via text message that her parents were fine. Echo at Satsop, her short film presently playing at Jack Straw New Media Gallery, is a spiritual attempt at cleansing, she explains. Partly inspired by that terrifying time, as well as by the Ichikawa roams the tower like a wraith. atomic-inflected histories of her past and present generations. When you think about Fukushima, homes, the five-minute film is a haunting examihow that pollution will leak into the water, into nation of nuclear ripples across the world. our streams, rivers, food, and the people, its reach Satsop is a small town near Grays Harbor is quite troubling.” which, during the ’70s, was one of our state’s Implicit in Echo at Satsop is the legacy of Hannotorious WPPSS nuclear power-plant sites—a ford, another WPPSS site, which produced the debacle that resulted in a $2.25 billion bond plutonium for the Fat Man A-bomb dropped on default in 1982 (about $6 billion in today’s dolNagasaki. That was seven decades ago—while lars). With massive cost overruns and PennsylFukushima’s leaking radiation now poisons vania’s 1979 Three Mile Island meltdown in the Ichikawa’s old homeland. The parallels weigh news, Satsop’s two 480-foot-tall cooling towers heavily on her. In her film, we see her pour a bamwere abandoned, and they still loom over the boo shaft of water into the eerie, empty tower. town’s struggling industrial park. “In Japan, in Shinto tradition, water is used Ichikawa was drawn to Satsop for a couple ceremonially for cleansing,” Ichikawa explains. of reasons. A musician friend told her about the (She also marks the ending of the film with cooling towers’ wonderful acoustic properties. the sound of a traditional Japanese bell.) This Because of their cavernous dimensions, sound intermingling of Shinto ceremony, the hauntbounces off the walls with a tremendous echo. ing nuclear memories of Japan and Washington “You are there, and you talking to me now, state, and the sheer scale of the Satsop nuclear your voice is going to bounce back to you seven site make for a spectral viewing experience. The times without you even making an effort,” Jack Straw installation amplifies the video’s Ichikawa says. “The acoustic property of the spookiness by pumping Ichikawa’s handclaps space is unlike anywhere else; it feels much like through surrounding speakers that rumble deep being on the inside of a cathedral.” in your gut. Radiation is toxic, malevolent, and That sacred sense is evident in Echo at Satsop, unseen; Ichikawa’s echoing sound waves are no where we watch Ichikawa, dressed in white, roam less invisible, yet they feel like a poignant kind of the tower like a spirit. The eerie silence is interspiritual reparation. E rupted only by the sound of her handclaps, which ksears@seattleweekly.com resonate boomingly, like gunshots. Ichikawa says, “I felt that the echo of the JACK STRAW NEW MEDIA GALLERY acoustic space paralleled the echoes of nuclear 4261 Roosevelt Way N.E., 634-0919, jackstraw. [power] . . . the ripple effect that the nuclear org, etsukoichikawa.com. Free. 9 a.m.–5 p.m. [age] has on our generation and future Mon.–Fri. Closing reception: 6 p.m. Tues., March 11.
SE ATTLE WEEKLY • FE BRUARY 12 — 18, 2014
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Your help creates homes.
2014
University of Washington
From Yusef to Trayvon
PUBLIC
Donald Byrd wants you to acknowledge America’s racist past, and present, with his neo-minstrel show. BY SAN D R A KU RT Z
D
onald Byrd has a positive genius for
NATE WATTERS
This version of Minstrel Show Revisited is itself a
revision of the original 1991 production. At that time, Byrd was responding to the 1989 murder of Yusef Hawkins, a black teenager killed by a white mob in Brooklyn, which led to massive protests, a
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SPECTRUM DANCE THEATER Cornish Playhouse at Seattle Center, 325-4161, spectrumdance.org. $20–$40. 8 p.m. Thurs., Feb. 20–Sat., Feb. 22.
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FUTURE OF ICE LECTURES February 20th | 6:30pm Stand by seating only!
PAUL NICKLEN
Photojournalist and Author
Polar Obsession March 5th | 6:30pm Stand by seating only!
DR. P. DEE BOERSMA
Wadsworth Endowed Chair in Conservation Science
Penguins as Ocean Sentinels
March 11th | 6:30pm
SHEILA WATT-CLOUTIER Former Chair, Inuit Circumpolar Conference
The Right to be Cold
FEATURED SPRING LECTURES April 25th | Meany Hall | 7pm, $5 Tickets on Sale, March 20, 2014
NATE SILVER, Signature Speaker
Author and Statistician, FiveThirtyEight
Ahead of the Curve: Predicting baseball, politics and everything in between May 1st | 6:30pm
CLAIRE JEAN KIM
Associate Professor of Political Science and Asian American Studies, UC Irvine
Race, Species and Nature in a Multicultural Age
REGISTRATION IS REQUIRED, please register online at
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As a courtesy, stand-by seating will be offered. It doesn’t guarantee admission.
ALL LECTURES WILL TAKE PLACE IN KANE HALL ON THE UW SEATTLE CAMPUS
SE ATTLE WEEKLY • FE BRUARY 12 — 18, 2014
media circus, and the election of New York’s first pushing buttons. He’s been doing African-American mayor, David Dinkins. Byrd it throughout his long career as a knew he was dealing with sensitive material, but performer and choreographer, and was still surprised at the amount of push-back he certainly didn’t stop when he came to Seattle from audiences. in 2002 to run Spectrum Dance Theater. The On tour, audiences walked out of the awardgroup had been working in a jazz-inflected winning production. In California, he told The mainstream style, but Byrd started shifting it San Diego Union-Tribune, “Someone said, ‘We in a more politically dynamic and physically don’t have these problems in La Jolla.’ Someone extreme direction right away, with works like A Cruel New World, which focused on the national response to 9/11. With a background in theater, Byrd is quite confident about bringing contemporary eyes to historical works, offering radical views of heritage dances like Vaslav Nijinsky’s Petrushka and Marius Petipa’s Sleeping Beauty. In some of these explorations, his focus is on older theatrical conven- Byrd’s dancers in minstrel mode. tions, but he mostly presents the work as an example of its surroundelse said, ‘Donald Byrd, you should be ashamed ing culture. His current project sits right in the of yourself.’ And just before I answered back, I middle of highly contentious ground: The Minthought, ‘This is what I wanted.’ It was a dialogue; it just wasn’t the one I expected to have.” strel Show Revisited takes an unflinching view Two decades later, there’s a new dialogue about of a difficult part of our performance history, American racism, one reflected in the divide making us squirm and smile at the same time. between Quentin Tarantino’s gleeful exaggerations The minstrel show is considered the first truly in Django Unchained and Steve McQueen’s allAmerican performance event, with a legacy that but-documentary 12 Years a Slave. Outside Holpersists today in vaudeville, revues, and variety lywood, there’s talk of “thugs” and long-form birth shows. Like its heirs, minstrelsy provides an intimate and sometimes uncomfortable link between certificates when it comes to public figures like Richard Sherman and Barack Obama. Our police performers and audience. The original minstrel department has been accused of institutional racshows of the 19th century reflected the complex relationship between black and white Americans, ism, and our school district has backed away from a curriculum that deals directly with white privibefore and long after the Civil War. For Byrd, lege. We are far from a post-racial society, as Byrd minstrelsy isn’t a thing of the past, but part of the would be the first to tell you. living present. Indeed, there’s more than enough material in Byrd has deliberately filled Minstrel Show Minstrel Show Revisited to connect today’s audiRevisited with elements that will make us ence with America’s racist past. In a workshop wince—everyone appears in blackface, with version I watched last November, the program impossibly big afro wigs, white gloves, and spats. ended with spoken transcripts from George The program opens with a hyper-enunciated Zimmerman’s 911 calls before he shot Trayvon delivery of “There’ll Be a Hot Time in the Old Martin and his interrogation at the police station Town Tonight,” and goes on to hit almost every afterward. A deadpan delivery style made the racial stereotype you can think of. Performers grim material even more dire. Yet Byrd insists recite lists of ethnic slurs, tell racist jokes, pull tricks, and mock one another. Since this is a work there’s both entertainment and horror in his Minstrel Show. “I like liveliness,” he says about by Donald Byrd, they also dance with incredible his approach to dance and theater. This new look intensity and skill, so that we are both fascinated at a discredited old theatrical style should give its and repelled by the racist and sexist subtexts of audience plenty to talk about. E our dance heritage.
LECTURE
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UPCOMING ARTS EVENTS February 15th ~ Fiddle Festival Barn Dance February 26th ~ High & Hallowed Documentary Screening February 28th ~ Award Winning Author; Greg Nokes March 4-25 ~ How to Draw Horses March 7-8 ~ Vox Docs Film Festival March 14 ~ Artist’s Way Author; Julia Cameron March 22 ~ Sherman Alexie Presentation April 5 ~ The Met: Live in HD & Dinner April 19 ~ Icicle Creek Chamber Players May 6-27 ~ Bird Drawing and Sculptures
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Classical Start-Ups With more aspiring conductors than orchestras can absorb, what’s the answer? For Julia Tai, it’s DIY. B Y G AV I N B O R C H E R T
C
what it’s like below stage, too: “All the instruments in the pit don’t see the singers. They’re hanging onto you.” But after academia, what next? Newly minted conductors today, rarely as lucky as Mester, have to make their own opportunities. “Classical music really has to look to the start-up model,” Tai asserts. “Most of the conductors I know started a group.” Knowing a strong network of UW composers and freelance players, Tai in 2010 teamed with fellow student Jeremy Jolley to launch the Seattle Modern Orchestra. They present three concerts a season of the most uncompromising new music: Lachenmann, Xenakis, and Gubaidulina, for example, on their February 20–21 concerts with guest cellist Séverine Ballon. The SMO has boosted her career not only in terms of experience and visibility; running your own ensemble forces you to learn all the things they don’t teach you at a conservatory. For instance, “Jeremy and I had to figure out all the copyright laws,” Tai says. And this “start-up” strengthened her application for a more traditional job: taking over Philharmonia Northwest after conductor Roupen Shakarian retired from the ensemble in 2011 after 26 years. What you do on the podium is only half a music director’s job, Tai points out: “Orchestras always ask about funding, audience development, grants.” “I wouldn’t be happy doing just one,” Tai says of her complementary posts, performing avantgarde music with intrepid young musicians and standard repertory with an established community orchestra. Well, not entirely standard— Shakarian was a fan of music by local composers (this author, among others) and obscure 19thcentury ones, and Tai has continued the tradition of stretching her players: After she was hired, she examined the past quarter-century of Philharmonia Northwest programs and built her first season entirely out of works they’d never played.
gborchert@seattleweekly.com
PHILHARMONIA NORTHWEST St. Stephen’s Episcopal Church, 4805 N.E. 45th St., philharmonianw.org. $15–$20. 2:30 p.m. Sun., Feb. 16. SEATTLE MODERN ORCHESTRA At PONCHO Concert Hall, Cornish College of the Arts, 710 E. Roy St., 8 p.m. Thurs., Feb. 20; and Chapel Performance Space, 4649 Sunnyside Ave. N., 8 p.m. Fri., Feb. 21. $10–$20. seattlemodernorchestra.org.
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TOWN HALL IS CIVICS TOWN HALL’s Civics series reflects the sensibilities of our city itself: bustling; creative; a place of activism, celebration, and discovery. As an ongoing series of wide-ranging events— sometimes featuring more than one program a day—and with most lectures priced at just $5, the Civics series truly offers Seattlites unparalleled access to information, inspiration, and ideas. The series provides an accessible way for people to not only learn about the topics shaping our society, but contribute to the conversation. Attendees come away from Civics programs informed and inspired, with the tools to engage in the world around them. People rely on TOWN HALL to provide responsive programming. TOWN HALL’s Civics series is known for effectively responding to current events, providing a timely and relevant forum for real-world discussions about important issues and topics that define our civic discourse— like elections, gun violence, or developing economic concerns. TOWN HALL
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onductor Julia Tai offers a telling anecdote that indicates how much her business—and the classical-music world as a whole—has changed over the decades since it was, relatively, a growth industry: Reflecting on his long career, Jorge Mester, her former teacher at USC, now 78, admitted to Tai, “I never applied for a single job in my life.” It’s a little trickier these days to piece together a conducting career than it was when Mester was gifted a post straight out of Juilliard. So how has Tai, 33, managed to become the busiest conductor of her generation in the area? A musical background as wide as possible definitely helped. “I was immersed in music,” Tai says of her upbringing by music-loving parents in Taipei; “it became my first language.” She entered the conservatory there at age 9, studying violin with a minor in piano. With her mother a church music director, she was drawn to singing as well, and first went to USC, with its large and active opera program, to study voice. A side gig as a choral conductor awoke her ambition: She not only persuaded Mester to take her as a student, but became his assistant for three years at the Pasadena Symphony. That education was enhanced by time with the Los Angeles Master Chorale and opportunities to work under the L.A. Philharmonic’s Esa-Pekka Salonen. Tai next came to the University of Washington for graduate work with Peter Ëros, whom she reveres: “Very few [teachers] talk about music— how to use your imagination, how to pace it.” Plus, a smaller conducting program meant she’d get more time on the podium, and Ëros assigned her to lead performances of operas by Weill and Mozart, where her experiences both as a vocalist and an instrumentalist came in handy. “I know what they have to think about—costumes, staging,” she says of opera singers—and remembers
JOSHUA BESSEX
Tai in rehearsal at North Central Community College.
On the agenda for Tai’s rehearsal last week for Philharmonia Northwest’s February 16 concert is Edward Elgar’s Cello Concerto. Romantic concertos like this one are a major challenge for a conductor: Mercurial tempo fluctuations, written and unwritten, subtle or sudden, are part of the style; communicating them all to the players demands the utmost responsiveness and focus and a clearly readable baton technique; and on top of that is the necessity of coordinating everything with the whims of the soloist, who naturally has ideas of his or her own. Luckily, Sunday’s soloist is Seattle Symphony cellist Walter Gray, with whom Tai collaborates smoothly, deferring to him for suggestions on various matters concerning this piece he’s played for years. “To develop rehearsal technique is to study psychology,” Tai says, and she leads the three dozen musicians efficiently, giving them what they need to play well but no more. She stops not for every tiny mishap, trusting the players to note and clean these up themselves on subsequent passes, which they do, but only to explain larger points—like how she’ll subdivide (indicate rhythms in increments smaller than a beat) in a certain bar. She dissects a complicated transition, pointing out who should cut off with whom; asks for longer phrases, for “more passion in the sound”; and concentrates on bringing the concerto the right sense of forward motion, urging sweep and lilt in passages that tend to bog down. Tai tidies up, but does not obsess over, details. As she puts it, “I’d rather have a more passionate performance than a perfect performance.” She’s just as skilled at dealing with audiences, which she sees as a vital part of her mission. Again invoking Seattle’s tech innovations, she says “Everything is more interactive now”—and especially with the SMO’s arcane repertory, she and Jolley make a point of providing a bit of explication, lecture-recital style, of the works they play. With Philharmonia Northwest, too, she’s launched a series of pre-concert talks; Gray will offer his insights into the Elgar concerto at 2 p.m. this Sunday. Tai’s also a believer in the movement to bring classical performances into non-traditional spaces. Though Philharmonia Northwest has been comfortable for several seasons at Laurelhurst’s St. Stephen’s Episcopal (consistency is also a way of making yourself accessible to audiences), the SMO plays all over the place; for its potentially forbidding programs, Tai seeks “less intimidating environments”—anywhere the atmosphere doesn’t throw up a barrier to what’s important: “The music is something we want to present to [listeners], she says. “The form doesn’t matter so much.” E
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Image: Woman, Bird and Star (Homage to Picasso), February 15, 1966 / April 3-8, 1973, Joan Miró, Spanish, 1893-1983, oil on canvas, 96 7/16 x 66 15/16 in., Museo Nacional Centro de Arte Reina Sofía. © Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris 2014.
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The Internationalist Peter Mountford’s fiction looks far beyond his adopted home. BY B R IAN M ILLER
F
SARAH SAMUDRE
orget about our ferns and forests and fleece; never mind our Priusdriving liberal monoculture or the Seahawks or coffee or Bertha. A transplant to our city in 2004, novelist Peter Mountford has no use for such petty regional concerns. He was raised all around the globe, including Sri Lanka and Washington, D.C., since Mountford is setting his next novel in Sri Lanka. his father was a welltraveled executive at the International Monetary Fund. was like—socially as well as professionally.” In “You’re always on the outside looking in,” says such a cozy world of think tanks and investment Mountford. “That instilled in me a deep sense of banks, government agencies, international borthe complexity of the globe.” Before arriving at rowers and lenders, he sees “no black hats and the University of Washington to pursue a MFA white hats, no heroes and villains. The reality is in creative writing, he explains, “I had lived in much more complicated than that. The duty is to Ecuador, Paris, New York, D.C., Scotland” durexplore the gray areas.” ing his post-collegiate 20s. “I had been traveling Vincenzo’s motives for burning his the world. I had never owned any furniture.” bridges—this being 2005, before the global A decade later, he’s much more established, financial crisis—are accordingly muddled. having bought a house with his wife, now raising Maybe it’s a midlife crisis or a snub at work, two kids, and teaching as Richard Hugo House’s maybe it’s a stroke of conscience (prompted by writer-in-residence. “I started teaching there in Occupy Wall Street types protesting outside 2007 or 2008. I’m actually able to make a living,” his office), or maybe it’s a gesture to impress he says, enjoying a newfound “rootedness, which his daughter. “I resisted the flattening” of is what a writer needs.” the flawed economist, says Mountford. “I’m Instead of being his subject, Seattle is interested in foreigners in places where their Mountford’s base for looking outward at the cultural identity is radically disrupted.” world—“a place of relative calm and peace” This formulation applies to the very mutable where he’s published two globally engaged young Gabriel in Late Capitalism, too. Like him, novels: 2011’s A Young Man’s Guide to Late Mountford sees Vincenzo as “also a person withCapitalism, about intrigue in Bolivia, and now out a place. He’s truly outside. He has nothing to this month’s The Dismal Science (Tin House, bind him.” Vincenzo’s old ties to Italy and family are gone; then without a wife or job, he discovers $15.95), in which an Italian-born economist at that the only address that matters is his e-mail the World Bank, based in Washington, D.C., address. His future fate is uncertain. “Maybe he’d goes off the rails and rebels against an entire be an economics professor,” the author muses, monetary-political system. That character’s “Maybe he’d be working for some large investquixotic, sometimes self-destructive agenda ment bank, maybe he’d be in jail.” Both books even takes him to Bolivia, where we meet some “are about strategy and the absurdity of trying to characters from Mountford’s first novel— plot your way through life. We can’t all live like including President Evo Morales. Machiavelli. The world is full of chaos.” “It was gonna be one book with two stories And that’s what Mountford prefers to write interweaving,” says Mountford of his two loosely about. His next book is set during Sri Lanka’s linked novels. “But they were about two differrecent civil war, and he has no plans to pen cament things. One is about marriage and fragility.” pus novels or books about “neurotic middle-class That would be Dismal Science, whose protagonist, suburbanites” or “the leafy green suburbs of D.C.” Vincenzo, is a lonely widower in his 50s with or Seattle. Instead his focus is internationalist his only child away in college. “And the other and systemic: to explore “the role of money in is about ambition,” meaning Late Capitalism, our lives and how to escape the banality of our whose heedless young hero works for a hedge lives as capitalist entities.” E fund. They’re dissimilar men at different ages and career points, yet they’re both working in the bmiller@seattleweekly.com trenches—with varying degrees of self-awareness—of the global financial system. RICHARD HUGO HOUSE ford, “so I had a sense of what the World Bank
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SE ATTLE WEEKLY • FE BRUARY 12 — 18, 2014
“My father worked for the IMF,” says Mount-
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SEATTLE WEEKLY • FEBRUARY 12 — 18, 2014
A 5th Avenue Theatre / ACT Collaboration
Spring Arts Calendar
Mar
BY MARGERY CERCADO, IMANA GUNAWAN, SANDRA KURTZ, AND SW STAFF
Ongoing
Block by Block Yes, it’s a show about LEGOs, containing architectural replicas and cityscapes created by Tacoma’s Dan Parker from the plastic toys. Ends April 20. EMP Museum, emp museum.org Katinka Bock In A and I, the German con-
ceptual artist creates site-specific sculpture out of ordinary and found objects made of clay, wood, stone, steel, and other urban discards. One room is filled with dirt from a Belltown construction site. Ends May 4. Henry Art Gallery, henryart.org Crafting a Continuum: Rethinking Contemporary Craft Making its Northwest stop, this big
traveling show show features over 60 American artists. Ends April 27. Bellevue Arts Museum,
bellevuearts.org • LaToya Ruby Frazier The talented young
museum.org A Fuller View of China, Japan and Korea
SAM’s founder, Richard Fuller, is honored with a big survey of the museum’s Asian holdings. Ends April 13. Seattle Asian Art Museum, seattleart museum.org Andy Graydon The filmmaker gets lost in the
woods in his Super-8 movie The Findings. Ends Feb. 23 Frye Art Museum, fryemuseum.org • Liu Xiaodong The Chinese painter creates roughhewn, realistic scenes of his empty old village in Hometown Boy. Ends June 29. Seattle Asian Art Museum • Danny Lyon: The Bikeriders His classic
black-and-white images of the Chicago Outlaw Motorcycle Club, taken while he was a member during the ’60s, were a huge influence during that decade—Easy Rider being but one example. Ends May 4. Henry Art Gallery Agnes Martin The late painter specializes in abstract, organic forms in The New York–Taos
Connection (1947–1957). Ends April 20. Tacoma Art Museum, tacomaartmuseum.org • On the Air Teatro ZinZanni’s dinner-theater salute to radio days. SEE RELATED STORY, PAGE 10. Ends June 1. Teatro ZinZanni,
zinzanni.com Camille Patha A veteran Northwest painter
who traffics in bright-colored surrealism and Pop Art, her six-decade retrospective is called A Punch of Color: Fifty Years of Painting. Ends May 25. Tacoma Art Museum
Pull, Twist, Blow: Transforming the Kingdom of Glass Cheeky young Swedes mess with the traditional medium. Ends April 26. Nordic Heritage Museum, nordicmuseum.org Joseph Gregory Rossano He uses tar, a
petroleum extract, to address climate change and endangered species in Whitewashed. Ends March 16. Bainbridge Island Museum of Art, biart museum.org Anna Skibska The Seattle artist’s work goes
way beyond glass in Coastal Alchemy, with additional elements of collage and photography. (Also on view: big neon letters by Jen Elek and Jeremy Bert.) Ends Sept. 28. Museum of Glass (Tacoma), museumofglass.org Venus in Fur Gillian Williams stars as the
temptress in this sexy import from Broadway. Ends March 9. Seattle Repertory Theatre Wan Qingli Inked combines traditional scroll and calligraphy art with sly political commentary. Ends June 29. Seattle Asian Art Museum
February
12 Amy Chua Tiger Mom is back! She and her unfortunate husband, Jed Rubenfeld, will discuss The Triple Package: How Three Unlikely Traits Explain the Rise and Fall of Cultural Groups in America. Seattle Central Library, spl.org 12 Sharon Salzberg She shares from Real Happiness at Work: Meditations for Accomplishment, Achievement, and Peace. Elliott Bay Book Co., elliottbaybook.com
SE ATTLE WEEKLY • FE BRUARY 12 — 18, 2014
photographer chronicles her dying rust-belt town of Braddock, Penn., in Born by a River. Ends June 22. Seattle Art Museum, seattleart
LATOYA RUBY FRAZIER
LaToya Ruby Frazier (pictured with her grandmother Ruby) at SAM.
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Joan Miró’s 1977 Head, Bird, at SAM.
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12 Gabriel Sherman Let’s all boo the FOX News founder we love to hate! Sherman’s controversial new biography of Roger Ailes is The Loudest Voice in the Room. Town Hall, townhall
seattle.org 12–March 9 Frankenstein; Or, The Modern Prometheus David Quicksall adapts and directs this new stage adaptation. Book–It Repertory Theatre, book–it.org 13 Robert Gates He dishes on W and Obama in his political memoir Duty. Town Hall • 13 Peter Mountford The local author reads
from his second novel, The Dismal Science. SEE RELATED STORY, PAGE 19. Richard Hugo
House, hugohouse.org 13–15 Paul C. Morrissey He’s known for his
several appearances on The Late, Late Show With Craig Ferguson. Laughs Comedy Spot (Kirkland), laughscomedy.com • 13–16 Kate Wallich + The YC Wallich has
been doing her homework, spending time experimenting in the studio, as she’s been working on choreography for her first full program. Her style has an inner motor that drives the movement along through a series of moments both lovely and strange. For Super Eagle, she’s been working with Andrew Bartee, who’s branching out from his work with Pacific Northwest Ballet to explore some other options. SANDRA KURTZ Velocity Dance Center, velocity dancecenter.org • 13–May 25 Miró: The Experience of Seeing
by
John Patrick Shanley
Feb 14 - March 1
directed by Maureen Hawkins
Thurs-Sat 8pm | Sun 4pm
Tickets: $14-$25
stonesouptheatre.org | brownpapertickets.com
The Spanish postwar titan of abstract and often whimsical art is examined for his later output, created during the last two decades of his life before 1983. Seattle Art Museum • 14 XVIII Eyes Don’t Google this band—you’ll only generate results for the latest Super Bowl. Just know the psychedelic shoegaze of this Seattle group kicks ass. With Fox and the Law, Sea Cats. Sunset Tavern, sunsettavern.com 14 Sarah Churchwell Careless People: Murder, Mayhem, and the Invention of The Great Gatsby is her new history work. Elliott Bay Book Co. • 14 Harold and Maude Just in time for Valentine’s Day, Robert Altman’s May/December romance/suicide-com is screened. SIFF Film Center, siff.net
14 Brian McKnight He brings his deep–voiced R&B ballads to a concert of love songs. Emerald
Queen Casino, emeraldqueen.com 14–15 Jamie Lee/Joe Derosa You know these comics from MTV and Comedy Central. The Parlor Collection (Bellevue), parlorlive.com • 14–16 Mark Morris Dance Group SEE THE
PICK LIST, PAGE 43.
• 14–March 5 Woody Allen in the ’80s Six repertory titles include Hannah and Her Sisters, The Purple Rose of Cairo, and Radio Days. Grand
Illusion Cinema, grandillusioncinema.org 14–Sept. 21 At Your Service Ten contempo-
rary artists re-examine plates, cutlery, and other household objects. Bellevue Arts Museum 15 Katherine Boo She of the acclaimed Behind the Beautiful Forevers appears at the Search for Meaning Book Festival with Isabel Wilkerson (The Warmth of Other Suns) and three dozen other writers. Seattle University, seattleu.edu • 15 Mudhoney The legendary local grunge rockers help celebrate the Tractor’s 20th birthday.
Tractor Tavern, tractortavern.com 15 Presidents of the United States of America Their latest album, Kudos to You, delivers more of the same silly alternative rock. The Showbox, showboxpresents.com • 15–16 Before Sunrise, Before Sunset, & Before Midnight All three installments of Rich-
ard Linklater’s beloved trilogy are screened, with Ethan Hawke and Julie Delpy as the quarrelsome central couple. SIFF Film Center • 15–16 Chop Shop: Bodies of Work This annual showcase has been growing like a weed— this is its seventh year, and producer Eva Stone has snagged a great mix of local talent and artists from elsewhere. This edition adds ballet to the contemporary dance that has been its main focus, including a visit by the Grand Rapids Ballet, directed by former PNB dancer Patricia Barker. SK Meydenbauer Center, chopshopdance.org
15–16 Genre Bender The loss last year of City Arts Fest was a blow to the arts community, but the decision by organizers to continue this particular event from that annual affair is a boon. Ten exciting, diverse, and incredibly talented Seattle artists will break into pairs and present a new interdisciplinary work. Of particular note
are the pairings between designer Mark Mitchell and theater standout Marya Sea Kaminski; composer/trumpeter Ahamefule Oluo and slideshow artist ilvs strauss; and dancer Ezra Dickinson and filmmaker Shaun Scott. Whatever happens, it will be original and, likely, mind-bending. MARK
BAUMGARTEN Cornish Playhouse, Seattle Center, cityartsonline.com 16 The Commodores The oldies act is touring
behind such perennial hits as “Brick House” and “Three Times a Lady.” Emerald Queen Casino,
emeraldqueen.com 16 Miley Cyrus She rides her wrecking ball to Puget Sound. Tacoma Dome, tacomadome.org 16 Karl Denson’s Tiny Universe The veteran
sax man has been creating funky dance music for three decades. With The Dirty Dozen Brass Band. The Neptune, stgpresents.org 16 Mick Foley The former pro wrestler tells “Tales From Wrestling Past” rather than a conventional stand-up set. The Parlor 16 Band of Horses This South Carolina-byway-of-Seattle indie band returns for an allacoustic set. The Moore, stgpresents.org 16 & 22 Octava Chamber Orchestra Mozart and Rossini from this lively ensemble. Maple Park Church, octavachamberorchestra.com • 16 Philharmonia Northwest Julia Tai con-
ducts Elgar’s elegiac Cello Concerto, plus Corigliano and Brahms. SEE RELATED STORY, PAGE 17. St. Stephen’s Episcopal Church,
philharmonianw.org 16 Ed Schultz Preaching to our liberal Seattle
pews, the popular MSNBC host tells you what’s wrong with the red states. The Moore 17 Harlem Globetrotters Their dribbling is bound to amuse your kids. KeyArena, seattle center.com 18 Feel like a failure? Megan McArdle is here
to help with her The Up Side of Down: Why Failing Well Is the Key to Success. Town Hall • 18 The Pixies Black Francis and company are now making do without Kim Deal. Is their music still any good? You decide. SEE RELATED STORY, PAGE 53. The Paramount, stg
presents.org • 18 Matthew Quick The author of The Silver
Store, bookstore.washington.edu 18–19 Sweet Honey in the Rock On the
heels of its new live album, A Tribute: Live! Jazz at Lincoln Center, this all-woman, all-African American a cappella troupe continues to share its soulful rhythms, as it has since the ’70s. Triple
Door, tripledoor.net • 18–March 1 NT Live: Coriolanus Nobody
does Shakespeare like the Brits. This production stars reluctant Internet heartthrob Tom Hiddleston. SIFF Cinema Uptown 19 Susanne Antonetta The Bellingham author’s new adoption memoir is Make Me a Mother. University Book Store 19 Rowing Into the Son No, that’s not a typo; it’s Jordan Hanssen’s account of four guys rowing across the Atlantic. Third Place Books, third placebooks.com
KeyArena • 19 Chris Ware and Chip Kidd The eminent
cartoonist and book designer/author talk about graphics and design for the modern age. Town Hall 19 Joyce Yang The pianist makes her Seattle debut. with Bartok, Schumann, and Rachmaninoff. Meany Hall, uwworldseries.org 19 Suzy Bogguss One of the most popular country singers of the ’80s and ’90s, she recently released Lucky, an album of Merle Haggard tunes. Tractor Tavern, tractortavern.com 19–March 9 Odysseo The dancing horse show from traveling circus troupe Cavalia performs under a giant tent. Marymoor Park, cavalia.net 20 Sharon Corr The sultry chanteuse takes the spotlight. Snoqualmie Casino, snocasino.com 20 The Last Bath This made-in-Seattle porno was concocted by the old Apple Theater back in 1973. See it if you dare! Grand Illusion 20 Hot Tuna The enduring Jefferson Airplane side project and eternal jam band returns. Triple Door 20–21 Seattle Modern Orchestra Two nights
(and two separate programs) with guest cellist Séverine Ballon. SEE RELATED STORY, PAGE 17. seattlemodernorchestra.com 20–22 Ryan Singer His “mindcast” project, Me & Paranormal You, has the comedian talking about/with people with otherworldly abilities and experiences. Laughs Comedy Spot 21 Anthony Doerr The visiting noted fiction specialist (All the Light We Cannot See) leads a panel discussion called “Must the Gun Always Fire? And Other Rules of Writing” with fellow scribes Natalie Diaz and Karen Finneyfrock. Richard Hugo House 21 The English Beat Let’s travel back to the
ska sounds of the Thatcher era! Original member Dave Wakeling fronts this configuration. The Showbox, showboxpresents.com 21 Erika Hayasaki She draws on her experi-
ence teaching at Berkeley in The Death Class: A True Story About Life. Elliott Bay Book Co. • 21 Keb’ Mo’ Born Kevin Moore, the guitarist and three-time Grammy award winner turns out the blues with soul-filled singing and an instinctual sense of rhythm. Edmonds Center for the
Arts, edmondscenterforthearts.org 21 Khambatta Dance Company If you’re into
dance, cello, and moral or ethical dilemmas, KDC’s Vice and Virtue might be just the show for you. Kirkland Performance Center, phffft.org • 21 Elizabeth Kolbert Staff writer for The New Yorker, her latest is The Sixth Extinction: An Unnatural History. Town Hall 21 Smokey Robinson Mr. “Tears of a Clown” comes to T-Town. Emerald Queen Casino 21 A Little Night Music The Sondheim musical combines heartache and discontent, as usual. Ends March 9. SecondStory Repertory, second storyrep.org 21 Doc Severinsen The former bandleader for
The Tonight Show can still hit some high notes on trumpet. Skagit Valley Casino, theskagit.com 21 7 Boxes It was a favorite during SIFF last year; now it’s back for a weeklong run. SIFF Cinema Uptown 21 The Wind Rises Hayao Miyazaki’s last
animation effort—he promises!—celebrates aviation before World War II; some have criticized the film for that very reason. Seven Gables,
landmarktheaters.com
SE ATTLE WEEKLY • FE BRUARY 12 — 18, 2014
Linings Playbook returns with his new novel The Good Luck of Right Now. Elliott Bay Book Co. • 18 Sun Kil Moon Best known for his brooding ballads with former group Red House Painters, Mark Kozelek is touring behind his new album Benji. The Neptune 18 Henry Winkler The Fonz has become a noted children’s-book author, aided by Lin Oliver, with his Here’s Hank series. University Book
• 19 Paul Simon & Sting How did they decide who gets top billing? By comparing net worths?
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“VISUALLY STUNNING AND EXQUISITELY PERFORMED” THE NEW YORK TIMES
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SEATTLE WEEKLY • FEBRUARY 12 — 18, 2014
SPRING HIGHLIGHTS
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Joyce Yang | Feb 19
CIRCA | Mar 22-23
JACK Quartet | Mar 15
Soweto Gospel Choir | Apr 12
Richard Goode | Mar 20
Hilary Hahn | Apr 29
MEANY HALL ON THE UW CAMPUS 206-543-4880 | UWWORLDSERIES.ORG
TOWN HALL’s Science series stretches the bounds of “science” and “scientific thinking” in ways that are enlightened, innovative, and thought-provoking. Seattle is a city of ideas with an openminded and curious population hungry for education and dialogue. TOWN HALL’s Science series provokes deeper thought and understanding on a range of topics while acknowledging that specific issues—such as the environment, technology, and global health— have a particular relevance in the Pacific Northwest. The series doesn’t just present timely and provocative topics; it explores them from multiple vantages and perspectives, with a goal of encouraging sustained inquiry. Our recent Science talks are no exception—Richard Dawkins, infamous Darwinist thinker; Nobel Laureate Peter Doherty; J. Craig Venter, bestselling author on the ‘Dawn of Digital Life’; and astronaut Chris Hadfield, who applied lessons of space to life on Earth. Always unique and engaging, our Science series leaves no topic unexplored. TOWN HALL
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21 Lake Union Civic Orchestra An all-Russian program, including Scriabin’s Second Symphony.
Town Hall, luco.org 21–22 The Head and the Heart Seattle’s much
lauded neo-folkies released their sophomore album, Let’s Be Still, last October. Friday with Rose Windows, La Luz; Saturday with the Moondoggies, Mikey and Matty. The Paramount • 21–22 & March 1–2 J.S. Bach Passions Project Bach’s two powerful oratorios on the life of
Jesus. Ludovic Morlot conducts the St. Matthew Passion this weekend with the Seattle Symphony; Stephen Stubbs leads the St. John Passion in March with Pacific MusicWorks. Benaroya Hall, benaroyahall.org 21–23 Dante’s Inferno: The Ballet Ronald Tice
and Jennifer Porter have created a new dance based on the medieval tale. Meydenbauer Center, meydenbauer.com 21–26 Independent of Reality The Czech
filmmaker Jan Nemec is honored with selections from his 50-year career. Northwest Film Forum,
nwfilmforum.org 21–March 1 The Telephone Book Screened
late on weekends, this is a 1971 porno/trip movie hybrid—rarely seen, perhaps for good reason.
Grand Illusion • 22 The Pimps of Joytime The funk band
from Brooklyn and New Orleans blends soul and funk into effortlessly groovy beats. Neumos,
neumos.com • 22 Ani DiFranco With scores of awards, one
Grammy, and loads of feminist cred, the prolific Buffalo, N.Y., songwriter released her latest studio album, Which Side Are You On?, featuring the late Pete Seeger, in 2012. With Jenny Scheinman. The Moore • 22 DJ Spooky Paul D. Miller’s electronic persona is renowned for his “trip hop” and “illbient” sounds. He’ll screen his Rebirth of a Nation in recognition of Black History Month tomorrow at the Moore. Barboza, thebarboza.com 22–March 7 Seattle Opera The Consul, GianCarlo Menotti’s timely 1950 drama about life in an Orwellian, totalitarian state. McCaw Hall, seattleopera.org 22–May 25 Isamu Noguchi and Qi Baishi: Beijing 1930 Essentially a biography show, this
22–May 25 Mark Tobey and Teng Baiye: Seattle/Shanghai Another meeting of cultures:
Northwest icon Tobey and visiting Chinese UW student Teng were buddies during the ’20s and ’30s. See how their work influenced each other.
Frye Art Museum • 23 Rosanne Cash After a long pause from
the music biz, she mines her family and geographical roots on The River and the Thread.
The Moore 23 Mardi Jo Link Her Great Recession mem-
oir is Bootstrapper: From Broke to Badass on a Northern Michigan Farm. University Book Store 23–May 18 Truth Like the Sun Local writer Jim Lynch set this recent novel during our 1962 World’s Fair. Now see the stage adaptation. Book–It Repertory Theatre • 24 10th Annual Seattle-Kobe Female Jazz Vocalist Audition Women compete to represent Seattle in Kobe, Japan, in May. Jazz Alley, jazz alley.com
25 Jennifer Ouellette The noted science writer considers online avatars and other topics in Me, Myself & Why: Searching for the Science of Self. Town Hall 25–26 Ron Reid’s Graduation Class Students
from his North Seattle Community College “Beginning Stand–up Comedy” course will make their debut. Laughs Comedy Spot 25 We Were Promised Jetpacks The Scottish indie-rock quartet blasts into town. Neumos 25 Langhorne Slim The soulful, funky rocker released his sixth album, The Way We Move, in 2012, and is gearing up to play Conan again. Sunset Tavern 26 Emily Parker She’ll discuss her Now I
Know Who My Comrades Are: Voices of the Internet Underground. Town Hall 26 Seattle Rock Orchestra Hits from Michael Jackson’s huge catalogue from this all-star ensemble. The Moore 26 Matt Zoller Seitz The veteran film writer helps you prepare for The Grand Budapest Hotel (opening next month) with his tribute book The Wes Anderson Collection. Third Place Books • 26 Throwing Muses Kristin Hersh and band—minus original member half-sister Tanya Donnelly (Breeders, Belly)—released last year’s Purgatory/Paradise as a combination book and album. The Triple Door 26–March 9 The Arabian Nights The UW School of Drama mounts Mary Zimmerman’s adaptation of the traditional fantasy tales. Floyd and Delores Jones Playhouse, depts. washington.edu/uwdrama 27 Jim Jefferies The FXX’s Legit star and cre-
ator is on a 31-city comedy tour, “Day Streaming.” The Moore 27–28 Nate Bargatze The son of a clownturned-magician keeps up the family business with his stand–up routines. Laughs Comedy
“If you’re looking for answers, or even moral certitude, look elsewhere.”—CityArts
PLAYING THROUGH FEB. 16 Jack Taylor and Michael Winters. Photo by Alan Alabastro.
Spot 27 & March 1 Seattle Symphony Mozart’s last
three symphonies—dashed off, amazingly, in six weeks in 1788, and no one knows exactly why— are led by returning conductor Gerard Schwarz. Benaroya Hall, seattlesymphony.org 27–March 1 Hal Sparks Known for appear-
ing on various VH1 countdown series. (And for playing Zoltan, the leader of the bubble-wrapclad nerds in Dude, Where’s My Car?) The Parlor 27–March 2 En Vogue Original members Terry Ellis and Cindy Herron will reprise hits like “Hold On” and “Free Your Mind.” Jazz Alley 27–March 6 Winter in the Blood Sherman Alexie produced this new Montana-set drama, directed by Alex and Andrew Smith. Northwest
AN ALL-OUT BATTLE OF THE SEXES
Film Forum 28 Glasvegas The Scottish indie band returns with openers the Ceremonies. Columbia City Theater, columbiacitytheater.com • 28 Lisa Lampanelli Comedy’s “Queen of
Ask about our Valentine’s Day Special!
Mean” has received praise from both Jim Carrey and Howard Stern—which is good, right? The
Moore 28 Non-Stop Liam Neeson wields his AARP
card as a deadly weapon. Do we care about the plot? He’s on a plane, he’s Liam Neeson, and that’s all you need to know. 28 Sy Safransky The founder and editor of the old The Sun newspaper joins various contributors for a group reading from its annals. Elliott Bay Book Co.
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YU HUI-HUNG
March
1 Anjelah Johnson Bon Qui Qui’s in the
house and will likely be rocking a full set of nails that look “so pretty, like model.” The Paramount 1 Greensky Bluegrass In 2011, the Michigan–based ensemble released the excellent Handguns. The Neptune 1 B.B. King The blues legend is joined by Ayron Jones and The Way. The Moore • 1 Chuck Palahniuk The Fight Club author is in town for the national conference of The Association of Writers and Writing Programs (aka AWP Week), here joined by fellow authors Lidia Yuknavitch, Chelsea Cain, Monica Drake, and Suzy Vitello. Tickets will go fast. Elliott Bay
Book Co. • 1 Tom Baker Three premieres by this active and multivalent Seattle composer. Chapel Performance Space 1 & 5 Met Opera at the Movies You know the
fragrant “Polovtsian Dances”; now hear the rest of Borodin’s rarely staged Prince Igor. See met opera.org for participating theatres. • 1–9 Seattle Jewish Film Festival Various
venues, seattlejewishfilmfestival.org 1–June 8 Parallel Practices: Joan Jonas & Gina Pane The American ( Jonas) and the late
Frenchwoman (Pane) had parallel careers in sculpture, photography, and other media. See how they compare. Henry Art Gallery 1–June 15 Anne Fenton Recent winner of the Henry’s Brink Award, the local artist shows work in photography and video. Henry Art Gallery 1–? Nirvanov The producers haven’t set exact dates yet for this new musical by Nandi Johannes and David Karl Lee, which juxtaposes the last days of Kurt Cobain with the Chekhov play Ivanon. Balagan Theatre, balagantheatre.org 2 Mark Russell The political humorist finds
plenty to mock back in Washington, D.C.
Kirkland Performance Center, kpcenter.org 2 Trilogy Dance Company The local dance–
makers present an afternoon omnibus of new and repertory work. Meydenbauer Center, turningpointedancecentre.com
wachter.com • 5 Dr. Dog The Beck-lite indie band released B-Room in October. With Saint Rich. Neptune 5 Dale Earnhardt Jr. Jr. No connection to
NASCAR here, just a headlining tour across the nation for this indie-pop duo. Neumos 5 Jennifer Ringer The retired New York ballerina discusses her memoir, Dancing Through It, with PNB’s Peter Boal. Town Hall 5–22 Third A professor is pitted against her student, possibly a plagiarist, in Wendy Wasserstein’s campus drama. ArtsWest, artswest.org
Henry Art GAllery
HenryArt.orG
O n v I e w t h r O u g h M Ay 4
Katinka Bock: A and I
6 Eurocrime! The Italian Cop and Gangster Films That Ruled the ’70s Venture back to the
SE ATTLE WEEKLY • FE BRUARY 12 — 18, 2014
food, music, and cultural activities also attend the annual fest, which begins with the coming-ofage tale The Zig Zag Kid, based on the novel by David Grossman. Pacific Place and other
3 Angela Day And you thought coal trains were bad. Revisit an earlier environmental calamity with her Red Light to Starboard: Recalling the Exxon Valdez Disaster. University Book Store 3 Pat Metheny His new prog-jazz band is called Unity Group. The Moore 4 Svante Pääbo He explores our dirty little genetic secret in Neanderthal Man: In Search of Lost Genomes. Town Hall 4–April 17 Ann Gardner Variations presents her sinuous new sculpture, made of glass, bronze, and other materials. Also on view, the ersatz (and satirical) fashion photography of Jessica CraigMartin. Winston Wächter Fine Art, winston
era of glorious mustaches, Red Brigade terrorists, and gold chains in this new doc. Grand Illusion • 6 First Thursday It’s time to march around Pioneer Square and sample all the great galleries at the Tashiro Kaplan Building and beyond. firstthursdayseattle.com 6 Paul Revere and the Raiders The Boise
garage rockers promise lots of “Kicks” and plenty of hits tonight. Snoqualmie Casino,
snocasino.com 6–8 Young Playwrights Festival Eight new works by authors aged 12–18. ACT Theatre, acttheatre.org 6–8 Cloud Gate Dance Theatre of Taiwan The
first contemporary-dance company in a Chinesespeaking community makes its Seattle debut with 3.5 tons of shimmering golden grains of rice. Meany Hall • 6–8 Seattle Symphony Gerard Schwarz leads an all-Strauss program; few conductors bring out the composer’s opulence quite so intoxicatingly. Benaroya Hall
Katinka Bock. Lettra. 2011. Ceramic, wall, dimension variable. Courtesy Meyer Riegger.
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6–9 Sergio Mendes With over 35 albums and three Grammys, the bossa nova legend brings his signature latin style to Jazz Alley
6–9 Miguel Gutierrez and the Powerful People From New York, the avant-dance troupe performs And lose the name of action. On the Boards, ontheboards.org 6–30 Robert McCauley Bears! He paints our
ursine friends and other critters. Also on view: the hyperrealistic suburban scenes painted by Terry Leness. Linda Hodges Gallery, linda
hodgesgallery.com 6–30 Mitchell Albala He paints bomb blasts
and other scenes of destruction in Acceptance. Also on view, work by John McCormick. Lisa
Harris Gallery, lisaharrisgallery.com 6–April 5 Soly Cissé The Senegalese artist
makes his Seattle debut with a show of brightly colored paintings, called DREAMS. M.I.A.
More wiggle in the wag! Dog Daycare • Dog Boarding Dog Grooming • Dog Shop 809 Olive Way, Suite B • Seattle, WA 98101 206/623-5395
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Gallery, m-i-a-gallery.com 6–April 6 The Boy at the Edge of Everything
A bored 12-year-old meets his doppelgänger— in space! Seattle Children’s Theatre, sct.org 6–April 12 Tangible Evidence This group show features members of the Northwest Designer Craftsmen group, now a half-century old. Schack Art Center (Everett), schack.org 6–April 12 Thuy-Van Vu She paints small
watercolors of mundane and overlooked objects, sometimes including ruined houses. G. Gibson
Gallery, ggibsongallery.com 7 Stranger by the Lake A predatory killer
stalks a gay vacation spot in this new French thriller. SIFF 7–9 The Esoterics Music evoking the seas opens this a cappella choir’s nature-inspired season. Various venues, theesoterics.org
• 7–13 Alien Boy: The Life and Death of James Chasse A fine, infuriating Portland documentary
about a schizophrenic man, off his meds, who was killed by the cops. You will think of it every time you walk through Pioneer Square. North-
SEATTLE WEEKLY • FEBRUARY 12 — 18, 2014
west Film Forum 7–13 Cousin Jules Directed by Dominique
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Benicheti, this 1972 French rural drama never received a U.S. release. Grand Illusion 7–22 Black Vengeance Now they’ve gone and made Othello into a punk opera, created by Nathaniel Porter. Ghost Light Theatricals (Bal-
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lard Underground), ghostlighttheatricals.org 7–June 15 Fragile Fortress: The Art of Dan Webb He specializes in intricate wood carvings
of unlikely subjects—including shoes, balloons, and ominously shrouded figures. Bellevue Arts
Museum 7–June 15 Kathy Venter The Canadian ceram-
ics artist creates big figurative works in LIFE.
Bellevue Arts Museum 8 Tudor Choir Devotional music from their namesake era. Blessed Sacrament Church, tudorchoir.org 8–9 Seattle Pro Musica Choral music for
Lent, including David Lang’s modern reworking of a medieval mystery play. St. James Cathedral,
seattlepromusica.org 8–June 15 Little Shop of Horrors The giant
man-eating plant returns in this reliably funny musical based on the Roger Corman movie. Co-produced with ACT. 5th Avenue Theatre 9 Big Bad Voodoo Daddy Party like it’s 1996 with these pinstripe-suited hepcats. Snoqualmie Casino
9 Onyx Chamber Players All Beethoven: The “Archduke” Trio and more. First Church Seattle,
onyxchamberplayers.com 9–May 6 National Geographic Live The popu-
lar lecture series brings several visiting naturalists, filmmakers, and scientists. Benaroya Hall,
seattlesymphony.org/benaroya • 10 This event is sold out, but you can stand
outside on the sidewalk and cheer Supreme Court Justice Sonia Sotomayor, who shares from her memoir My Beloved World. Town Hall 11 Dave Barry One journalist (or ex-journalist) who’s survived the newspaper collapse quite nicely, he reads from You Can Date Boys When You’re Forty: Dave Barry on Parenting and Other Topics He Knows Very Little About. Town Hall 11 Patty Duke Yes, that Patty Duke shares from her memoir Call Me Anna. Washington State Convention Center, wscc.com 12–April 6 The Lion King From beloved car-
toon feature to Broadway behemoth, there’s no denying the touring power of this Disney stage musical. The Paramount 13–April 12 Alwyn O’Brien creates intricate ceramics, often with a mesh-like method of construction. (Also on view: embroidered work by Claire Cowie.) James Harris Gallery, james
harrisgallery.com 13 Mike Veseth Is “Two-Buck Chuck” a good
value or not? Ask the oenophile and author of Extreme Wine. University Book Store (Bellevue) 14 Particle Fever Intrepid physicists search for the elusive Higgs boson particle, using really cool, huge-ass machinery. Varsity, landmark
theaters.com • 14 The Grand Budapest Hotel Wes Ander-
son’s much-anticipated droll-com features Bill Murray, Tilda Swinton, Ralph Fiennes, and a host of other quirky stars. Various theaters 14 Trentalange Her vocals call to mind Sarah McLachlan’s, but there’s a dark edge to her latest, Same Illusion. With Golden Gardens. Barboza 14 Northwest Sinfonietta Bach’s St. John Passion is popular this season. Seattle First Presbyterian Church, northwestsinfonietta.org • 14–20 Northern Lights This 1978 drama by
John Hanson and Rob Nilsson recounts bleak events in North Dakota during the Progressive Era, when farmers battled the railroads and trusts. Grand Illusion • 14–23 PNB: Director’s Choice The diverse and crowd–pleasing repertory will get you grooving one moment and holding your breath the next. Imagine a solo to the riot-inducing music of Stravinsky’s Rite of Spring following a sentimental aerial duet set to a haunting score by Arvo Pärt right after a playful, Dave Brubeck– infused jazz ballet. On the list are Susan Stroman’s Take Five . . . more or less (set to Brubeck’s famous “Take Five”), Susan Marshall’s Kiss, Molissa Fenley’s State of Darkness, and a new work by Hubbard Street Dance Chicago’s resident choreographer Alejandro Cerrudo. IMANA
GUNAWAN McCaw Hall, pnb.org
• 15 Billy Connolly The renowned Scottish comic and sometime actor (Mrs. Brown) has been doing stand-up for four decades, and this is a rare Seattle gig. The Moore 15 JACK Quartet The adventurous New York– based string quartet teams with composers from the UW School of Music and DXARTS. Meany Hall
Ludovic Morlot
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CHOPSHOP
StoneDance Productions and The Theatre at Meydenbauer Present:
BODIES OF WORK
• 15 Sandrider One of the first bands to sign
to hard-rock label Good to Die, Sandrider shreds and slays in epic form on its latest, Godhead.
Columbia City Theater 15 Orchestra Seattle/Seattle Chamber Singers Mozart’s Requiem and other elegiac music by Liszt and Samuel Jones. First Free Methodist Church, osscs.org 15 Northwest Symphony Bruckner’s vast
Symphony no. 8 in West Seattle’s similarly vast
Holy Rosary Catholic Church. northwest symphonyorchestra.org 15–March 2015 Sol Lewitt The famed con-
ceptualist will create a year-long installation in the PACCAR Pavilion. Olympic Sculpture Park,
seattleartmuseum.org 16 Kyle Eastwood Son of Clint, the bass
player and jazz-band leader swings into town.
Kirkland Performance Center 16 Byron Schenkman and Friends Chamber
music (this time, by Rameau) from this expert keyboardist and hand-picked colleagues.
Benaroya Recital Hall, byronschenkman.com 19 Paula Cole “Where Have All the Cowboys
Gone” was one of the most depressing songs of the ’90s. Cole continues to mine the darker side of life in Raven, independently released last year.
The Triple Door 19–April 6 The Suit A restaging of Peter
Brook’s adaptation of the South African apartheid tale. Seattle Repertory Theatre
• 19–April 13 The Importance of Being Earnest Victor Pappas directs Oscar Wilde’s classic drawing-room comedy. Seattle Shakespeare Company, seattleshakespeare.org 19–May 1 Red Renewal: Seattle’s Socialist Spring Comrades! Let us all strike at the heart of
the capitalist beast with this retrospective of old activist, labor, and solidarity films! Northwest
Film Forum 20 Rebecca Goldstein She contrasts the digi-
ladium and other venues, moisturefestival.org 20–April 27 The Tutor This new musical by
Andrew Gerle and Maryrose Wood has a New York writer trying to balance difficult teen clients with his blocked novel. Village Theatre • 21 Seattle Symphony “Celebrate Asia” includes a new work by UW composer Richard Karpen; Julia Tai conducts. Benaroya Hall 21 An Evening With Mike Gordon There is no Mike Gordon without Phish, and no Mike Gordon show without Phish fans. You know what to expect. The Neptune • 21–27 The Great Flood From Bill Morrison (Decasia), this is the latest found-footage experiment, depicting the catastrophic 1927 Mississippi River flood via old, decaying newsreels. Bill Frisell supplies the new score. Grand Illusion
music and recollections from his long, distinguished career. Benaroya Hall 22–23 Circa The Australian contemporary circus group pushes the boundaries between circus and dance. Meany Hall • 22–23 Music of Remembrance Hans Krása’s allegorical musical fable Brundibár was created for performance by Terezin inmates; Tony Kushner adapted the English libretto for this revival. Seattle Children’s Theatre, musicof
remembrance.org • 23 ZZ Top Can these gray beards still twirl
their guitars? Who cares, as long as they still crank out hits like “Legs,” “Pearl Necklace,” and “Cheap Sunglasses.” The Moore • 23 Vikesh Kapoor The modern answer to Pete Seeger was recently listed as one of six artists “to carry us forward.” His growing catalog is filled with finely rendered working-class anthems set to guitar and harmonica. Tractor Tavern • 23 Hawaiian Slack Key Festival Summer is still months away, but this cultural showcase is sure to shower rays of island sunshine, at least for a day. Edmonds Center for the Arts 23–24 12 Minutes Max Local talent, in all disciplines, fills On the Boards’s spring omnibus. Washington Hall, ontheboards.org • 24 Lorde The teenage sensation from New Zealand is joined by Lo-Fang. WaMu Theater, ticketmaster.com • 24 George Saunders His latest story col-
lection, Tenth of December, is new in paperback, and it’s our favorite, weirdest, most dystopian gathering of short fictions from last year. Not to be missed. Presented by Seattle Arts & Lectures.
Town Hall, lectures.org 24 The Straits Alan Clark and Chris White of
Dire Straits play the music of their former band with the help of a few friends. Neptune • 24–25 Los Angeles Plays Itself A rare chance to see Thom Anderson’s nearly three-hour study of his hometown, its history, and its architecture as depicted by the movie biz. Northwest Film
Forum • 24–30 NT Live: War Horse Featuring giant
puppet horses, this is the World War I equine drama that brings men to tears, recently filmed by Steven Spielberg. SIFF Cinema Uptown 25 Widespread Panic This Southern-rock jam band continues to draw stoners and music geeks alike. Moore • 25 Wanting Born Wanting Qu, this Vancouver-based singer/songwriter was inspired by the music of Sarah McLaughlin and Dido; through her dogged efforts, she is now their labemate. Triple Door • 26 St. Vincent The ultimate darling of indie
rock charms with her epic guitar shred as much as with her demure looks. She’s touring in support of February’s self–titled release. The Moore 26 Josh Fattal and Sarah Shourd Kidnapped by the Iranian government, they relate their ordeal in A Sliver of Light: Three Americans Imprisoned in Iran. Town Hall 27–29 David Alan Grier Best known as an alum of the ’90s sketch-comedy series In Living Color. The Parlor • 27–29 Seattle Symphony Hear two showpieces they’ll take to Carnegie Hall in May by Varèse and Debussy. Benaroya Hall
a contemporary dance festival Spectrum Dance Theater (Seattle) Grand Rapids Ballet (Michigan)
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tal and the Hellenic in Plato at the Googleplex: Why Philosophy Won’t Go Away. Town Hall 20 Richard Goode A pianist’s pianist: not quite a household name, but revered by his colleagues. He’ll play Debussy and more. Meany Hall 20–22 Steve Rannazzisi The funnyman stops by on his “Man–Child” tour. The Parlor 20–23 Seattle Symphony A piano concerto, “Night Butterflies,” by contemporary composer Alexander Raskatov. Benaroya Hall • 20–April 13 Moisture Festival Burlesque breaks out in Fremont, with programs for families and evening shows with a more risque bent. Live music, comedy, and acrobats are just some of the attractions on the rotating menu. Hale’s Pal-
22 Maz Jobrani The comic is on his “My Lion Is Moist” tour. The Neptune • 22 Leo Kottke The veteran guitarist mixes
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• 27–30 zoe | juniper Choreographer Zoe Scofield and visual artist Juniper Shuey are taking the title of their newest work, BeginAgain, quite literally, as they’ve been developing it for over a year, presenting “in progress” slices at the Frye, Velocity Dance Center, and several other out-oftown venues. These performances at OTB are its official premiere, before it begins yet again, on tour around the country. SK On the Boards 27–April 3 Journey to the West Chinese funnyman Stephen Chow plays a Buddhist monk on a quest to India. Grand Illusion 28 Rebirth Jazz Band The New Orleans brass band performs to get you in the mood for Jazz Fest. Which you’ll be missing, because you live here. Jazz Alley 28 The Black Lips The single “Boys in the Wood,” from their new album Underneath the Rainbow, is getting some play. Neumos 28 Kings of Leon The Family Followill released its sixth album, Mechanical Bull, last year. With Local Natives. KeyArena 28 The Lunchbox An epistolary romance breaks out between two residents in overcrowded New Delhi, each unknown to the other. Land-
mark Theaters, TBD 28–April 3 Je t’aime, je t’aime Alain Resnais’ rarely seen 1968 time-travel romance. Northwest Film Forum 28–April 13 Kiss of the Spider Woman Two
unlikely cell mates fall in love, or something, in this revival of the Fred Ebb/Terrence McNally musical. SecondStory Repertory 28–April 14 The Edge of Our Bodies Adam Rapp’s one-woman show sends a vulnerable teenage girl into big, bad New York City. Washington Ensemble Theatre, washington ensemble.org • 28–April 19 Seattle Vice Our own Rick
Anderson penned the down-and-dirty crimehistory book upon which this cabaret show is based; comedy, live music, and burlesque are part of the naughty fun. ACT Theatre 28–April 20 Gideon’s Knot Censorship erupts in school in Johnna Adams’ new drama. Seattle Public Theatre at the Bathhouse, seattlepublic theater.org 28–April 26 In the Book Of An Afghan trans-
lator, sheltered in the U.S., has her immigration status disputed. Taproot Theatre Company 29 Mary Daheim The local mystery writer returns to familiar woods with The Alpine Yeoman. Seattle Mystery Bookshop, seattle
mystery.com 29 I Love Lucy Yes, it’s a live stage show of the old sitcom. Would Lucy approve? The Moore 29 Miranda Sings Colleen Ballinger brings
her satirical YouTube series, featuring the overly confident Miranda, to the stage. The Parlor 29–30 Seattle Men’s Chorus Tunes from the Broadway musical in “Totally Wicked.” McCaw Hall, flyinghouse.org 29–July 6 Paint: The Works of Lyle Wilson
The Native American artist draws on his Haisla heritage in this career retrospective. Whatcom
Museum (Bellingham), whatcommuseum.org • 30 Neil Finn Split Enz is long gone, Crowded
House is off and on, but his gift for melody remains intact. The Neptune 30 Seattle Philharmonic Paul Dukas’ thrilling symphony belies his one-hit-wonder reputation as the composer of The Sorcerer’s Apprentice.
Meany Hall, seattlephil.org
April
• 1 Garrison Keillor Lots of stories, and a little music, with the Minnesota radio bard. Benaroya
Hall, benaroyahall.org 2 Camille Patha She gives a lecture associ-
ated with her ongoing exhibit A Punch of Color.
Tacoma Art Museum • 3 Charles R. Cross The veteran music jour-
nalist, who’s written for Seattle Weekly and every other publication in town, discusses his Here We Are Now: The Lasting Impact of Kurt Cobain with KEXP DJ John Richards. Town Hall • 3 First Thursday Be sure to hit Greg Kucera, Platform, Roq La Rue, and other galleries on this monthly art walk. firstthursdayseattle.com • 3–5 Ballet du Grand Théâtre de Genève This Swiss company is trained in classical ballet, but its repertory ventures far afield. For their first Seattle appearance, members will dance Preludes et Fugues by Israeli choreographer Emanuel Gat, which turns Bach’s Well-Tempered Clavier (played live) into a backbone for extreme kinetic exploration. At first it seems like so much snaky fun, but then you see how Bach’s patterns are reflected in the movement—it’s a contemporary version of baroque complexity. SK Meany Hall 3–5 Bobby Lee Fans will know this comic from Mad TV and Chelsea Lately. The Parlor 3–6 Shen Yun The gaudy touring Chinese dance extravaganza is back. McCaw Hall 3–6 David Sanborn Trio w/Joey DeFrancesco and Byron Landham Since releasing his first solo
album, Taking Off, in 1975, the inimitable saxman has garnered gold and platinum records— not to mention six Grammys. Jazz Alley 3–6 Seattle Symphony That ever-popular choral blockbuster, Carmina burana, plus Haydn. Benaroya Hall 3–27 Tails of Wasps A politician gets caught
in a sex scandal in Stephanie Timm’s new drama, presented by New Century Theatre Company.
ACT Theatre, wearenctc.org 3–30 Gayle Bard She paints dark landscapes
and topiary scenes. Also on view: Timea Tihanyi’s small ceramic depictions of ruined buildings. Linda Hodges Gallery 3–May 17 Darren Waterston Flowers and other natural forms recur in the watercolors presented in Cadence. Also on view: photos and supporting materials by Chris Engman. Greg Kucera Gallery, gregkucera.com • 4 Neutral Milk Hotel The lasting impact
of Jeff Mangum’s beloved indie act extends far beyond his band’s two LPs, released in the ’90s. With Elf Power. Neptune 4 Bruce Cockburn The Canadian folk rocker always brings a political bite to his tunes. The Neptune • 4 Finding Vivian Maier The amazing Chi-
cago street photographer of the postwar era, discovered soon before her 2009 death, is the subject of this new doc. Seven Gables, landmarktheaters.com • 4 G. Love & Special Sauce We will always
have a soft spot for the performer of “Cold Beverage.” The Showbox • 4–5 Fisher Ensemble Two nights of new work from the brother/sister team of composer Garrett and choreographer Christy, inspired by Satie and the Mahabharata. Chapel Performance Space, fisherensemble.org
13 Thalia Symphony BEE-THO-VEN’S FIIIFTH! BEE-THO-VEN’S FIIIIIIIIFTH!!!!
A Midsummer Night’s Dream at PNB.
Town Hall, thaliasymphony.org 14–May 17 Negar Farajiani The Iranian-born
ANGELA STERLING
• 4–10 The Thin Man and After The Thin Man
Nick and Nora return, along with their crimefighting dog Asta. Grand Illusion • 4–13 BOOST Dance Festival Seattle’s a supportive place for emerging dance artists. Here’s another opportunity for them to showcase new work, to be performed by local dancers and curated by BOOST directors Marlo Martin and Kristen Legg. This year, the festival is set to up its game with BOOSTmeUP!—a mini-festival for aspiring young dancers, choreographers, and directors. I.G. Erickson Theater, boostdance
festival.com 5 Michael McDonald The former Doobie Brother is still going strong. Emerald Queen Casino 5 Dum Dum Girls Sub Pop’s lo-fi girl pop
group released its third full-length, Too True, in January. Neumos 5 Byrd Ensemble This chamber choir pairs with the Seattle Baroque Orchestra for Bach, Handel, and more. Trinity Parish Church, byrdensemble.com 5–6 Gallery Concerts A Haydn symphony,
a Mozart concerto, and more, repurposed as chamber music. Queen Anne Christian Church,
galleryconcerts.org 7 Jeremy Rifkin Is Amazon.com a good thing
Town Hall • 7 Bryan Ferry Last year, the former Roxy
Music co-frontman (and recent H&M poster boy) contributed music to Baz Luhrmann’s The Great Gatsby. With Dawn Landes. McCaw Hall 8 Walter Kirn The staff writer for The New Yorker got conned, somewhat willingly, by the subject of his new true-crime story Blood Will Out, about a guy who claimed to be a Rockefeller heir. He was not. Town Hall 8 Trio con Brio Copenhagen Two Korean sisters and one Danish pianist play NØrgärd, Beethoven, and more. Meany Hall 10 Yonder Mountain String Band This bluegrass jam band released a new EP last year. The Showbox 10 The Spinners Groove to their hits
including “Working My Way Back to You.”
Snoqualmie Casino 10–12 Holcombe Waller Wayfinders is the
Portland singer/composer’s new song cycle.
On the Boards
ble is not a Waylon Jennings cover band, but its acoustic leanings do have a certain country side.
Edmonds Center for the Arts 11 Adrianne Harun Girls go missing in British
Columbia in her debut novel, A Man Came Out of a Door in the Mountain. Elliott Bay Book Co. 11 Jodorowsky’s Dune The new doc relates how the Mexican art-house director tried to film Frank Herbert’s sci-fi novel long before David Lynch. Harvard Exit, landmarktheaters.com • 11–13 Alvin Ailey American Dance Theater
Hold your breath as extraordinary dancers couple African-American cultural expressions with American modern-dance traditions. The
Paramount • 11–19 George Balanchine’s choreography for A Midsummer Night’s Dream includes a
surprising number of Shakespeare’s nested plots, which makes for plenty of juicy roles for dancers of all levels. If you’ve been following some favorite PNB dancer’s career lately, chances are they’ll be featured somewhere here—as a lover, a fairy, or even a bug. SK
McCaw Hall, pnb.org 11–May 4 Bethany In Laura Marks’ recession-
set recent drama, a divorced saleswoman is reduced to squatting in an empty, foreclosed house—which turns out not to be empty after all.
ACT Theatre 12 Stephen Malkmus & the Jicks The former
Pavement frontman and Portland resident has a new album out, Wig Out at Jagbags. With Speedy Ortiz. The Neptune 12 Soweto Gospel Choir The Grammywinning troupe presents colorful harmonies, costumes, and music. Meany Hall 12 George Strait The country veteran rides into town. Expect to see plenty of tobaccospitting in the crowd. Tacoma Dome • 12 Cappella Romana A re-premiere of a choral work lost for decades, the 1932 Passion Week by Maximilian Steinberg. St. Joseph’s Parish, cappellaromana.org 12–26 Peter Pan Lyric Opera Northwest presents this very kid-friendly musical. Kirkland Performance Center • 13 Women in Music One could write a pro-
vocative thinkpiece on whether this kind of concert is still necessary. Just sayin’. Nevertheless, it’ll be fascinating music: chamber works by Janice Giteck, Sofia Gubaidulina, and others. PONCHO Concert Hall, cornish.edu
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artist will attend this exhibit of new work; she last visited Seattle in 2012, with work both at M.I.A. and SAM. M.I.A. Gallery 15 André Watts Scarlatti sonatas, Chopin etudes, and much more from this pianist, now starting his second half-century onstage. (He started young.) Meany Hall • 15–16 Fatoumata Diawara To avoid pressure to marry from her parents, Diawara ran away from her native Mali and started her music career in Paris, where she has worked with everyone from Herbie Hancock to Bobbie Womack. Jazz Alley 15–May 11 A Room With a View Yes, the
beloved 1985 Merchant-Ivory movie, based on E.M. Forster’s love story, is now a musical, created by Jeffrey Stock and Marc Acito. 5th
Avenue Theatre • 16 Diana Krall The jazz chanteuse (Elvis
Costello’s better half ) released Glad Rag Doll in 2012, a collection of surprisingly contemporary jazz tunes. The Paramount 17 Gillian Flynn Seattle Arts & Lectures presents the noted mystery writer (Gone Girl, etc.).
Town Hall, lectures.org • 13 Claire Chase Varése, Glass, Reich, and more from this avant-flutist. PONCHO Concert Hall, cornish.edu 17 The Infamous Stringdusters This pop blue-
grass ensemble is set to release Let It Go April 1. With the Boston Boys. Neptune 17–19 Erik Griffin A comedian known for his mixed-race-based observational humor and his role as Montez on Comedy Central’s Workaholics.
The Parlor 17–May 17 Amir Zaki & Jason Hirata The two locals open separate exhibits. James Harris Gallery 17–June 7 Joey Veltkamp The local artist
stitches together many words and phrases in This Is Not a Protest. It’s a Celebration. ArtsWest • 18 Alan Partridge: Alpha Papa How could Steve Coogan’s British hit have taken so long to reach us? In the action-movie lampoon, Norfolk’s worst radio host is caught in a hostage crisis. Varsity 18 Velocity Annual Bash This gala fundraiser
is always a good party, with choreographer Mark Haim receiving a special award this year. Axis, velocitydancecenter.org 18 Chelsea Handler The current femme fatale
of comedy and late night brings her tongue-incheek humor to town. The Paramount 18–24 The Final Member Yes, there is a penis museum in Canada. Yes, this is a documentary about that museum. Grand Illusion
18–24 The Galapagos Affair: Satan Came to Eden This new thriller combines archival footage
with the voices of Cate Blanchett, Diane Kruger, and others to create a fresh crime tale. SIFF Film
Center 18–27 A Midsummer Night’s Dream Shakespeare's romantic fantasy, al fresco. Seattle Center lawn, cornish.edu 18–May 4 Ernest Shackleton Loves Me
Balagan Theatre presents a new musical by Valerie Vigoda, Brendan Milburn (of the band GrooveLily), and Joe DiPietro about a modernday woman who improbably meets—and pos-
TOWN HALL
IS COMMUNITY TOWN HALL’s calendar is an “open source” document, a record of collaboration with our rental and producing partners. Through our mission-derived commitment to our renters, TOWN HALL exists to tell the story of the city in its own voice. In our 2012-13 season,
TOWN HALL hosted 177 community-produced programs originating from more than 50 community partners, including Seattle Arts
& Lectures, Early Music Guild, and the Seattle Public Library. We provide our community the production and promotional team that allows independent, inexperienced producers to offer their work to the public. Fostering community requires a parallel commitment to accessibility. TOWN HALL strives to offer the lowest rental rates in town among comparably sized venues, and accessibility is our highest institutional priority.
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music (by Rorem, Previn, and others) for cello, piano, and soprano. Olympic Recital Hall, music
mance troupe the Libertinis add music, burlesque, and comedy to this tongue-in-cheek zoology lesson. Annex Theatre • 26 Jake Shimabukuro Commonly referred to as a wizard, genius, and virtuoso—often in the same sentence—this Hawaiian ukulele player is a true innovator of the instrument.
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divided affections, the fool whispering in your ear, the windswept heath—what could possibly go wrong? Seattle Shakespeare Company 20 The Temptations Motown’s popular R&B group have retained just one original member—Otis Williams—but the new configuration still delivers with soul, and continues to record, releasing Still Here in 2010. With the Four Tops.
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Benaroya Hall • 25–27 SCUBA On the omnibus bill, repre-
In Edward Albee’s marital/martial classic, the combatants include R. Hamilton Wright, Pamela Reed, Aaron Blakely, and Amy Hill. Braden Abraham directs. Seattle Repertory Theatre 19 Rick Springfield The ’80s heartthrob returns to fluster your mothers. Skagit Valley
northwest.org • 19–May 11 King Lear Ungrateful daughters,
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political math/statistical guru has shifted his focus back to sports (on ESPN), reflected in his new book Ahead of the Curve: Predicting Baseball, Politics, and Everything in Between. Meany Hall 25 Cameron Carpenter “The Liberace of the organ,” his fans call him. His skeptics, too.
repeated patterns figure in this group show, also featuring work by Chuck Close, Red Grooms, and Robert Rauschenberg. Whatcom Museum • 21 Juana Molina The Argentinian actressturned-experimental electronic musician has released an exceptional body of work, most recently with Wed. 21. The Triple Door 22 Jenny Milchman Murder and kidnapping figure in her Ruined Falls. Seattle Mystery
25–May 10 Gone Wild! A Savage Romp Through the Animal Kingdom Local perfor-
The Paramount 26 Seattle Baroque Music from Handel’s
Italian years—when he was getting his ya-yas out, before he settled down to become London’s respectable purveyor of operas. Town Hall, early
musicguild.org 26–27 Auburn Symphony Cheeky sympho-
nies by Haydn (#45) and Shostakovich (#9), both written to twit the powers that be. Auburn Performing Arts Center, auburnsymphony.org 26–May 3 Langston Hughes African American Film Festival In its 11th year, the fest will
offer at least a dozen features and docs, plus various shorts and panels. Langston Hughes
Performing Arts Center, langstoninstitute.org 27 McCabe Larionoff Duo Checking off
three more as this duo plays their way through Beethoven’s 10 violin sonatas. Brechemin Audi-
torium, music.washington.edu • 29 Hilary Hahn From this incomparable vio-
Bookshop 23 Drive-By Truckers Patterson Hood’s “indie
linist, an eclectic program: Schoenberg’s uncompromising Phantasy, an umaccompanied piece by Telemann, and more. Meany Hall
box SoDo 23 Ellie Goulding The British songstress has
We may have lost her to Austin, but this hometown country crooner never stays away too long.
Skynyrd” will release its 12th album, English Oceans, in March. With Shovels & Rope. Showthe fire to “Burn” the house down in support of her 2012 release Halcyon Days, a new edition of her sophomore album Halcyon. The Paramount 23–27 Marcus Youssef and James Long In Winners and Losers, the two Vancouver, B.C., theater artists pretend to have a furious, escalating argument. On the Boards 23–May 4 The Beggar’s Opera UW students and faculty present Vaclav Havel’s non-musical take on John Gay’s 18th-century slum story (not the usual Weill/Brecht version). Floyd and
Delores Jones Playhouse • 23–June 7 Hair The smash ’60s musical is full of hippie goodness and song. ArtsWest 24 Franz Ferdinand The Scottish group stops
by with its latest, Right Thoughts, Right Words, Right Action. Showbox SoDo 24 Jefferson Starship Because the ’60s never end. Snoqualmie Casino 24–May 31 Trail of Cedar, Stone & Canvas
Native-American painter Chris Hopkins is featured in this group show. Schack Art Center • 25 Nate Silver Why did you leave The New York Times, Nate?!? Why, why, why? Our favorite
• 30 Zoe Muth and the Lost High Rollers
Treehouse Cafe, treehousebainbridge.com 30 John Lill “Beethoven’s “Appassionata” and more from this pianist. Benaroya Hall
May
• 1 First Thursday During the Pioneer Square art walk, don’t overlook James Harris Gallery, A Gallery, and events in Nord Alley—especially now that the weather’s nicer and the evening is longer. firstthursdayseattle.com 1–3 Alonzo King LINES Ballet This renowned contemporary ballet troupe draws inspiration from India, Turkey, and Italy. Meany Hall • 2–25 Returning to Albert Joseph Satori group member Spike Friedman has written a new show. SEE RELATED STORY, PAGE 12. Inscape Building, satori–group.com 3 Maria Doyle Kennedy OMG! It’s Vera
Bates from Downton Abbey! And she can sing!
Kirkland Performance Center • 3–17 Seattle Opera Offenbach’s weird and
fantastical Tales of Hoffmann returns in one of SO’s most admired productions of recent years. McCaw Hall
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4 Trio Brasiliero Brazil’s melting-pot cultural influences break loose in the genre called choro. With Anat Cohen and Jovino Santos Neto. PONCHO Concert Hall, cornish.edu • 4 Ira Glass Everyone’s favorite NPR host
talks about reinventing radio. He has some credibility there. Pantages Theatre (Tacoma),
broadwaycenter.org 4–5 12 Minutes Max Yet another eclectic
showcase for local stage talent, running the spectrum from dance to cabaret. Washington Hall,
ontheboards.org 6 Stephen “Ragga” Marley Of the famous reggae clan. He now leads his own band. Showbox in the Market 8–11 Kenny G The Grammy–winning Seattle
saxophonist comes home for an intimate show.
Jazz Alley 8–11 Alain Buffard The choreographer sets his
work Baron Samedi to the music of Kurt Weill, performed live. On the Boards 8–11 John Pinette The portly comedian pokes fun at his weight. The Parlor 9 Seattle Rock Orchestra They perform The Beatles (aka “The White Album”) in its entirety.
The Moore 9 More Music at the Moore Meshell Ndegeo-
SecondStory Repertory • 10–Oct. 19 Deco Japan: Shaping Art and Culture, 1920–1945 Before, and despite, Japan’s
rightward lurch and World War II, the country was surprisingly receptive to Western design trends; there are some amazing posters and costumes in this traveling show. Seattle Asian Art
Museum 11 American String Project Chamber Players Quintets by Brahms and Dvorak. Brechemin Auditorium, music.washington.edu • 11 Seattle Youth Symphony Ravel’s Daphnis
et Chloe Suite no. 2 is one of those “Are you kidding? Kids can’t play that!” pieces that the orchestra breaks out now and then to shut skeptics up. Benaroya Hall, syso.org
Grand Illusion 13 Seattle Arts & Lectures presents Canadian classics professor Anne Carson, who collabo-
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rates with composers Eyvind Kang and Jessika Kenney for a reading and musical performance inspired by classical Greek statuary. Town Hall,
lectures.org 14–18 UW MFA Dance Concert UW’s “world–
class” MFA candidates showcases original choreography. Meany Studio Theater, depts. washington.edu/uwdance • 15–24 Whim W’him Olivier Wevers contin-
ues to experiment with movement so slippery you need rubber gloves to catch it. For this mixed-repertory show, he’s invited back choreographers Andrew Bartee and Annabelle Lopez Ochoa to make new works, as well as inviting himself to do the same. This fifth-anniversary year, the company is putting its dancers on contract and adding another week to its usual run— two big steps for a group that excels at fancy footwork. SK Erickson Theatre Off Broadway,
whimwhim.org • 15–June 8 Seattle International Film Festival The 40th edition of SIFF will feature roughly
250 features and docs, many of them fresh from Sundance, plus a hundred-odd short films. As always, myriad visiting directors and performers will attend. It’s 25 days of celluloid insanity at SIFF’s two venues and a half–dozen other cinemas. siff.net 15–July 6 Funny Girl The popular 1960s musical, forever associated with Barbra Streisand, uses Jule Styne’s memorable score to relate the life of vaudeville legend Fanny Brice. (Casting is not yet announced.) Village Theatre • 16 Seattle Symphony Stockhausen’s creepy Gesang der Jünglinge—an electronic collage of children’s voices—and more on the SSO’s final [untitled] concert of the season. Benaroya Hall • 16–17 Mean, acerbic, Canadian. That’s what we like about Norm MacDonald, who’s long past his bitterness over being fired from SNL. The Parlor
SE ATTLE WEEKLY • FE BRUARY 12 — 18, 2014
cello once again directs this showcase of talented young musicians. • 9 Carol Burnett One of television’s pioneering comediennes, still going strong at 80—and still up for doing her Tarzan yell, as she proved at Leno’s farewell. The Paramount 9–25 Keely and Du The abortion wars are dramatized in Jane Martin’s wrenching ’90s play.
• 11 Rodrigo y Gabriela Each song on the Latin guitar duo’s new album, 9 Dead Alive, is dedicated to a history-making individual: Hanuman, Viktor Frankl, and Eleanor of Aquitaine, to name a few. The Paramount • 12–15 Pulp Fiction Quentin Tarantino’s Oscar winner (for its script) turns 20. How do we know which wallet belongs to Jules Winnfield?
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music.washington.edu • 16–June 8 Arcadia Tom Stoppard’s dense history play is revived. Seattle Public Theatre at the Bathhouse 16–June 14 Diana of Dobson’s This 1908
English comedy about a class-jumping young heroine during the Edwardian period appears to
be cashing in on the Downton Abbey craze. Not that there’s anything wrong with that. Taproot Theatre Company 16–June 15 Terre Haute Edmund White’s
prison drama is based on the actual letters between Gore Vidal and homegrown domestic terrorist Timothy McVeigh. ACT Theatre
16–Sept. 21 Folding Paper: The Infinite Possibilities of Origami Not only Japan, but more
than a dozen other countries are represented in this exhibit of roughly 150 works by dexterous fingers. Bellevue Arts Museum • 19 UW Modern Music Ensemble Works by guest composer Brian Ferneyhough, pioneer of
what’s been called the “New Complexity” movement; music doesn’t get any more intimidating.
Meany Hall, music. washington.edu 20 Suzanne Vega With hits like “Tom’s
Diner” and “Luka,” the alternative darling of the ’80s celebrates the release of her latest album, Tales From the Realm of the Queen of Pentacles. With Ari Hest. Triple Door 21 David Finckel, Wu Han, Phil Setzer
Dvorak, Beethoven, and Schubert piano trios. Meany Hall 22 Seattle Secret Music Showcase #14
Talented yet largely unknown singer/songwriters come together semiannually. Triple Door
ANGELA STERLING
16–18 Gigi The Lerner and Loewe musical gets a stripped-down chamber performance: just the songs. 5th Avenue Theatre • 16–18 UW Opera Stephen Stubbs conducts Handel’s Semele. (We get Handel operas so rarely, it’s a shame this is the same one Seattle Opera’s doing next February.) Meany Hall,
Carla Körbes in Giselle at PNB.
22–June 28 Marie Watt She makes elaborate sculptures out of old blankets and other textiles.
Greg Kucera Gallery 22–June 30 Fabrice Monteiro & Gorean Summer These two young photographers show new work. M.I.A. Gallery • 23–25 Sasquatch! All the best indie bands
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Taipei, Taiwan
SEATTLE WEEKLY • FEBRUARY 12 — 18, 2014
(and more) converge at the Gorge—including Outkast, The National, M.I.A., Kid Cudi, Foster the People, and Haim. sasquatchfestival.com 23–25 Rain Fest On the bill are Gag, Expire, and Holy Land, with more acts pending. (And note the pre-festival concert on May 22 at the Vera Project.) Neumos • 23–26 Northwest Folklife Drum circles! Kilts and Tevas! Bandannas on dogs! (Actually, don’t bring your dog. Or guns.) Epic hacky sack! Folklife dwarfs Bumbershoot in attendance, and the weekend fest can make Lower Queen Anne a madhouse. But it’s nominally free (donations are encouraged), and it’s a family-friendly overture to summer. Seattle Center, nwfolklife.org 24 Christina Perri The alternative singer/songwriter rose to success with her hit ballad, “Jar of Hearts.” With Birdy. Neptune 28 Lady Gaga She’s on a world tour with something called “artRAVE: The ARTPOP Ball.” Lock up your daughters. KeyArena 28–June 1 Bellevue Jazz Festival The lineup for this seventh fest is TBA. Meydenbauer Center (and other venues), bellevuejazz.com 29–31 Robert Moses’ Kin The Bay Area con-
temporary ballet troupe mixes 30 dances and invites 30 choreographers and Seattle-area dancers for its Seattle debut. Meany Hall
Children have been using bricks to build imaginative creations since LEGO® was invented in 1949. See them all grown up in an exhibit that features epic edifices representing more than a hundred years of architectural innovation and nearly 200,000 LEGO® bricks.
Block by Block: Inventing Amazing Architecture is supported, in part, by:
29–June 1 Joan Osborne and the Holmes Brothers The soulful ’90s alternative star released Love and Hate last year. Jazz Alley • 30–June 8 PNB: Giselle There is arguably no
better way for a ballet troupe to close a season than with this romantic-era masterpiece about a girl dying of a broken heart and rising from the grave. The last time Giselle was performed (in 2011), artistic director Peter Boal, his assistant and program manager Doug Fullington, and leading Giselle scholar Marion Smith reconstructed the ballet from a dance-notation score that beats almost any other scores in age. It received international buzz and accolades. Now it’s back with newly adorned 19th-century costumes and scenery. IG McCaw Hall 30–June 22 The Price From 1968, Arthur Miller’s drama has two grown brothers fighting over their father’s estate. ACT Theatre 31 Ron Lovell The Oregon writer visits with Murder Times Two. Seattle Mystery Bookshop • 31 James Taylor Portlandia recently did a brilliant sketch about NPR types tailgating before a Prairie Home Companion show, and we’d like to believe similar throngs will congregate outside the Key, blasting folk music from their Subarus and sharing soup recipes. Can you feel the mellow?!? KeyArena E
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SEATTLE WEEKLY • FEBRUARY 12 — 18, 2014
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arts&culture»
ThisWeek’s PickList
begins with the 1986 Hannah and Her Sisters—starring Mia Farrow! Running through Sunday, the sterling ensemble comedy won Oscars for Allen’s script, for Michael Caine (as a guilt-ridden philandering husband), and for Dianne Wiest (the artistic, unfulfilled middle sister who wants to sing, and does so memorably with “I’m Old Fashioned”). Barbara Hershey plays the crazy younger sister and Farrow the stable one, though all three women are revealed to be more complicated than the labels society might give them. Hannah is perhaps Allen’s richest, warmest, most generous movie as it surveys, through several changing seasons, these flighty sisters and their even more flawed men (the director foremost among them, playing a selfish hypochondriac). It’s the best adaptation of Chekhov, not actually written by Chekhov, ever put to film. (The Purple Rose of Cairo plays Sun.–Wed.; the following titles in the series, running through March 6, are Crimes and Misdemeanors, Another Woman, Broadway Danny Rose, and Radio Days.) Grand Illusion,
WEDNESDAY, FEB. 12
THURSDAY, FEB. 13
Miró: The Experience of Seeing
reduce. (Ends May 26.) Seattle Art Museum, 1300 First Ave., 654-3121, seattleartmuseum. org. $12.50–$19.50. 10 a.m.–9 p.m. BRIAN MILLER
Noir City
If film noir is a uniquely American genre, the Noir City series reminds us that it absorbed influences from abroad and then exported the aesthetic back to other countries. Only three of these 16 features are true black-and-blue American (one of them, 1949’s Too Late for Tears, with the hard-case B-team noir icons Lizabeth Scott and Dan Duryea, arrives in a new Film Noir Foundation–funded restoration). Opening night’s The Third Man, set in the amoral underworld of postwar Vienna, with Orson Welles at his most callously mercenary, needs no recommendation. (Also on the double-feature bill is the World War II thriller Journey Into Fear, also starring
1403 N.E. 50th St., 523-3935, grandillusion cinema.org. $5–$8. 6:30 p.m. BRIAN MILLER MONDAY, FEB. 17
B.J. Novak
No one is going to confuse B.J. Novak for Raymond Carver. The fledgling author’s new humor collection, One More Thing (Knopf, $25), does not employ an economy of words. There’s a lot of prattling about the seemingly mundane minutiae of life. Luckily this is a sweet spot for comedians like Novak—writer, producer, and actor on The Office, where he played wonder-boy antagonist Ryan Howard—and he manages a few good chuckles with each entry. He’s got a knack for absurd yet not entirely unrealistic interior monologues. These “Stories and Other Stories,” per the volume’s subtitle, aren’t all stories. Some are just snippets of dialogue or brief Jack Handey–esque thoughts, the kind of riffs generated in a sitcom writers’ room and then abandoned. They’re funny—sometimes deliriously so—but unlikely to grow into anything larger. Mostly, though, they’re extended punch lines that skewer common tropes of American life—our fables, our empty promises, our collective fascinations—by flipping them, denigrating the dignified, dignifying the denigrated. As is the case with such transpositions, there are a few occasions of actual enlightenment from the Harvard graduate—pleasant surprises that show promise of deeper work in the future. But for now, the jokes are pretty great on their own. Third
Uptown, 511 Queen Anne Ave. N., 324-9996, siff.net. $10–$15. 7 p.m. SEAN AXMAKER FRIDAY, FEB. 14
Mark Morris Dance Group
The erstwhile local choreographer comes back to his hometown with a pair of beautiful revivals set to Brahms, just in time for Valentine’s Day: New Love Song Waltzes and Love Song Waltzes. If those seem almost too sentimental, his setting of Erik Satie’s Socrate, which considers the death of the philosopher with a live pianist and tenor onstage, is more austere but just as astonishing. All three works are making their Seattle debuts. (Through Sun.) The Paramount, 911 Pine St., 877-784-4849, stgpresents.org. $26–$71. 8 p.m. SANDRA KURTZ
Woody Allen in the ’80s
These half-dozen films were programmed well before the latest eruption in the long-running war between Allen and his ex, Mia Farrow. The timing of (old) sex-abuse allegations regarding adopted daughter Dylan Farrow seems not-socoincidentally linked to the launch of her brother Ronan Farrow’s MSNBC career. Scandal sells, as any stage mother knows, and it may also drum up some local interest in this retrospective, which
Place Books, 17171 Bothell Way N.E., 366-3333, third placebooks.com. Free. 7 p.m. MARK BAUMGARTEN E
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SE ATTLE WEEKLY • FE BRUARY 12 — 18, 2014
The Spanish artist Joan Miró (1893–1983) had a long career—so much so that a career retrospective would fill an entire museum, not just a couple of galleries. This traveling show, which originated at Madrid’s Museum Nacional Centro de Arte Reina Sofía, solves that problem by selecting 50-odd paintings and sculptures created during the last two decades of his life—Miró in autumn, in other words. Now, is late Miró as good as early Miró? The same can be asked of Picasso, Renoir, Warhol, and company. As artists age and slow down, they often learn how to do more with less. It takes fewer gestures, less paint, and more suggestion for Miró to hint at the natural forms of birds, women, and stars. His small bronze sculptures have a spindly Giacometti sparseness to them. His large oil canvases use only a few primary colors and brushstrokes to convey warm-blooded form. There are parts and pieces of creation here, but they’re stuck together oddly; you can see the traces of the cubism and surrealism and Dada that Miró cycled through, then rejected, in his youth. In his late career, settling on the island of Majorca, Miró essentially retreated from the urban life of Barcelona and Paris. He was left alone to fiddle, refine, and
Miró’s Woman, Bird, and Star.
Welles and Joseph Cotton, and also introduced by series curator Eddie Muller.) Other must-sees in the retrospective, running through Monday, are Drunken Angel, a 1948 Kurosawa urban gangster picture with young Toshiro Mifune as a cocky young blade; and The Wages of Fear, a French thriller set in the South American jungle with an existential edge and a nitroglycerine trigger. But also go to catch some of the rarities. It Always Rains on Sunday and Brighton Rock—with baby-faced Richard Attenborough as a sociopath of a young thug—detour down the dark alleys just outside of the drab existence of postwar England; neither is available on DVD. And I for one am curious to see just what a Norwegian or Argentine noir is all about. SIFF Cinema
KNOPF
Books, 17171 Bothell Way N.E., 366-3333, third placebooks.com. Free. 7 p.m. KELTON SEARS
Morris dancers in performance.
MUSEO NACIONAL CENTRO DE ARTE REINA SOFÍA
The Decemberists are one of the most notoriously bookish bands in the history of bands. Dropping words like “odalisque” and “bagatelles” into songs like it’s no big deal, each of the Portland band’s records should be packaged with a pocket dictionary for full comprehension. The wordiness makes sense: Colin Meloy, the band’s bespectacled frontman, graduated with a creative writing degree; and his sister is a frequent New Yorker contributor. So, years after the Decemberists made a name with its literary rock, it’s no surprise that Meloy made the logical leap and wrote his own book. Meloy and his wife, illustrator Carson Ellis, created Wildwood, a children’s series set in a fantastical parallel-universe Portland, where kids get wrapped up in a world of black magic, evil spirits, and general woodland whimsy. Tonight Meloy will read from the third book in the series, Wildwood Imperium, in an event suited for children, adults, and fans of the Decemberists. And also take note that Wildwood was recently optioned for an animated film by Laika Studios, the Portland production house behind Coraline and Paranorman. Third Place
ROSALIE O’CONNOR
Colin Meloy
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SEATTLE WEEKLY • FEBRUARY 12 — 18, 2014
The Picture Perfect Palouse! Pullman, Washington
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Save the date: Pullman ArtWalk July 18-19 Chocolate Decadence –Spring Edition! April 10
New! Photography Hot Spots Map available FREE! Visit pullmanchamber.com or call 800-365-6948
Photo by Rod Schwartz Palousepics.com
arts&culture» Stage Tanya (Dominguez, left) and Denise (Pierce) are wary of their light-skinned cousins in Black Like Us.
SHANE REGAN
Opening Nights Black Like Us ANNEX THEATRE, 1100 E. PIKE ST., 728-0933, ANNEXTHEATRE.ORG. $5–$20. 8 P.M. THURS.–SAT. ENDS MARCH 1.
Mr. Pim Passes By TAPROOT THEATRE, 204 N. 85TH ST., 781-9705, TAPROOTTHEATRE.ORG. $20–$40. 7:30 P.M. WED.–THURS., 8 P.M. FRI., 2 & 8 P.M. SAT. ENDS MARCH 1.
In early adulthood I acquired an affinity for Winnie-the-Pooh. A.A. Milne’s ability to amuse grownups and children astounded me. As such, Taproot’s production of Mr. Pim Passes By proves Milne’s power to charm in others genres. In this 1919 drawing-room comedy, Dinah (Allie Pratt) wants to marry Brian (Daniel Stoltenberg) but cannot without the approval of her uncle and guardian, George (Ryan Childers), though they have the approval of her aunt Olivia (April Poland). This is complicated further when befuddled Mr. Pim (Chris Ensweiler) enters, creating confusion and mayhem with his questions about true love. All this happens under the critical eye of Lady Marden (Kim Morris). These stock characters do teeter on the brink of absurd typicality; fortunately, the cast finds
ALYSSA DYKSTERHOUSE
Spamalot 5TH AVENUE THEATRE, 1308 FIFTH AVE., 625-1900, 5THAVENUE.ORG. $39 AND UP. 8 P.M. TUES.–SUN. (PLUS MATINEES). ENDS MARCH 2.
There are two kinds of people, I think, who may not be enthralled by 2005’s Spamalot: those who don’t care for the source movie (Monty Python and the Holy Grail, for anyone who’s been lost in the jungles of Borneo for the past decade), and those who adore it. The verbatim lifts from the film are hilarious; the heaps of surrounding material are tirelessly razzmatazzy but scattershot. (The “Knights of the Round Table” number, to name just one example, loses more than it gains from being expanded from the perfect, immortal 90 seconds of the film into a full-dress Vegas sendup.) The show’s problems, minor but nagging, are the usual screen-to-stage conversion issues (cf. Young Frankenstein): Jokes that work when underplayed onscreen don’t necessarily when overplayed (as they must be, to be audible) onstage; and one-liners can’t always sustain entire production numbers. You sure can’t fault the creators for generosity, though. Ex-Python Eric Idle (present at Thursday’s opening night, which was a giddy thrill) and his musical collaborator, John du Prez, throw everything at the audience that musical comedy has to throw. And the director of the 5th Avenue’s production, Josh Rhodes, gilds the lily with a half-dozen Super Bowl references— Pavlov rings his bell, and we salivate on cue. Most remarkable among a cast that is just about the best local musical theater has to offer are Laura Griffith as the Lady of the Lake, who gets to show off an immense range, both vocally and comedically, and Dane Stokinger, an absolutely protean performer who disappears into each of a sizable list of character parts (from The French Taunter to Tim the Enchanter). I had to keep checking the program every time he turned up in a new guise, incredulous it was really him. GAVIN BORCHERT E
stage@seattleweekly.com
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IS ARTS & CULTURE The role of arts and culture organizations is rapidly changing, as audiences increasingly see themselves as participants in programming— “curators of their own lives”— not merely passive observers. Since its inception, TOWN HALL has been dedicated to reflecting the diverse interests of the community it serves, exploring and encouraging new artistic expressions as well as direct engagement with artists. Recent Arts & Culture highlights include former U.S. Poet Laureate Billy Collins; cartoonist and TOWN HALL Artist in Residence Ellen Fourny; the Grammy awardwinning ensemble Roomful of Teeth, presented as part of our Town Music series curated by Joshua Roman; a bevy of local artisitic luminaries discussing all aspects of their work in our Inside Art series, curated by Juan Alonso and co-presented with The Project Room; crosscultural banjo-phenom Abigail Washburn in our Global Rhythms: Banj-O-Rama!; and Booker Prize-winning author Margaret Atwood. TOWN HALL
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SE ATTLE WEEKLY • FE BRUARY 12 — 18, 2014
Did you know Dick Cheney and George W. Bush are both distantly related to Barack Obama? Fact. But just as more than bloodlines are needed to forge kinship, it takes more than being raised under the same roof to keep a family together. Local playwright Rachel Atkins’ new drama posits that for blacks who could “pass” for white, embracing one’s black heritage once hinged on whether you might get a better offer elsewhere. It’s a fascinating theme. In post–Civil War New Orleans, for example, the occupying U.S. Army commander issued a Reconstruction edict that brutally simplified racial categories: If you weren’t 100 percent white, you were black. Overnight, musicians of color who had played in opera houses and elite salons were tossed into the street to compete with self-taught musicians for tips and gigs. That law lit the fuse that helped create jazz. In 1958 Seattle, where Black Like Us is set, color lines are subtler, yet still insidious, for sisters Florence (Chelsea Binta) and Maxine (Dior Davenport). Maxine is a budding civil-rights activist, but Florence has found a quicker way into the broad sunlight of zero discrimination. Because she can pass, she was mistakenly hired to work at the local department store, where she’s met a fine Italian-American gent who wants to marry her. Oh, and he has no idea she’s black. Although we never meet the beau or the sisters’ parents, we do encounter both girls’ granddaughters several decades later. Florence’s grandkids range from the hesitant Amy (McKenna Turner) to the more contemplative Michelle (Lindsay Evans) and the bull-in-a-china-shop Sandra (Alyson Scadron Branner), who sets up a meeting with Maxine’s descendants at the “neutral ground” of a Bellevue Starbucks.
Director Jose Amador has his hands full keeping Atkins’ often unwieldy go-cart of a play in steady forward motion. She favors raw emotion over finesse (here the phrase “keeping it real” comes to mind), when a more practiced playwright might accomplish both. When Maxine’s side of the family, Tanya (Marquicia Dominguez) and Denise (Kia Pierce), reluctantly arrives, it’s explosive, awkward, and funnily, scarily credible. That Atkins then takes another long, wistful look back to 1958 makes a nice bookend, but completely deflates the drama—adding an unnecessary 45 minutes following the dénouement. A word about the stagecraft: Plaudits to John Clarke, whose interlocking stage design makes a Rubik’s Cube look elementary. Likewise, Shane Regan’s sound design is a crazy quilt of terrific soul classics, from Gil Scott-Heron’s proto-rap classic “The Revolution Will Not Be Televised” to Sly and the Family Stone’s “Family Affair” to William DeVaughn’s “Be Thankful for What Youve Got.” That Florence’s very white grandaughter Sandra has James Brown’s “Say It Loud—I’m Black and I’m Proud” as her cell ringtone: Priceless. KEVIN PHINNEY
the balance to make them completely believable. As the ingénue, Pratt brings just enough flair for annoying teenage self-expression to avoid caricature. While Olivia could descend into conniving and emasculation (a perforated line is all that separates her from shrewishness), Poland adds love and playfulness to the part. As enchanting as the Hundred-Acre Wood, Mr. Pim (and its performances) trump the distracting direction and design. Except for Roberta Russell’s subtle lighting, this production is a visual eyesore, Spirograph meets Etch-a-Sketch. In his angular set design, Mark Lund places portraits above the room’s French doors. Have you ever gone to someone’s home and seen large artworks hung that high? (Adding further distraction, when characters here allude to their dead kin, they point—and strain their necks—to their lofty ancestors.) Sarah Burch Gordon’s costumes—with stripes, prints, and argyles galore—deliver more shapes, colors, and patterns than a Kandinsky painting. Director Karen Lund’s awkward single-plane blocking forces much unmotivated movement; it’s like watching my cat and dog play—a mishmash of motion with no reason behind it. Now I need to go appreciate my artworks at home, hung at eye-level as God intended.
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10 ARTISTS PREMIERE 5 HYBRID PERFORMANCES
MARYA S KAMINS EA KI A H A ME F U LE OL UO
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SEATTLE WEEKLY • FEBRUARY 12 — 18, 2014
E N I S & LU
FEBRUARY 15 & 16
Tickets: (425) 392-2202 • Now - March 2 • www.VillageTheatre.org
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arts&culture» Performance CURRENT RUNS
B Y G AV I N B O R C H E R T
AMERICAN WEE-PIE Lisa Dillman’s comedy, set in a cup-
cake boutique. Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 524-1300, seattlepublic theater.org. 7:30 p.m. Thurs.–Sat., 2 p.m. Sun. Ends Feb. 16. BLACK LIKE US SEE REVIEW, PAGE 45. CORNISH WINTER NEW WORKS FESTIVAL Readings of new plays by seniors Grace Carmack (Feb. 14–15), and Xochitl Portillo-Moody (Feb. 21–22). Cornish Playhouse at Seattle Center, cornish.edu. Free. 8 p.m. Fri.–Sat. ED, DOWNLOADED More a sketch than a fully realized play, with some Bertha-sized credibility gaps. Terminally ill geologist Ed (Noah Benezra) will have his mind stored in a box, and after his death it’ll relive a loop of 10 favorite memories—courtesy of his controlling girlfriend Selene (Gin Hammond), who works for a biotech company. Problem is, Ed’s been falling for the pixie-like Ruby (Adria LaMorticella). So which of his memories should be preserved—those of Ruby or Selene? Playwright Michael Mitnick sets up a clash of heroines, then shrinks from its resolution. KEVIN PHINNEY Washington Ensemble Theatre, 608 19th Ave. E., 325-5105, washingtonensemble. org. $15–$20. 7:30 p.m. Thurs.–Mon. Ends Feb. 24. THE EQUATION Charles S. Waxberg’s “examination of a capitalistic economy and what it does to humanity.” Trinity Episcopal Church, 609 Eighth Ave., 332-7908. Pay what you can. 8 p.m. Fri.–Sat., plus some weekend matinees; see theatre912.com for exact schedule. Ends Feb. 15. THE FOREIGNER A waste of a reliably risible text and a capable cast. In Larry Shue’s 1984 comedy, meek Britisher Charlie pretends not to speak English while vacationing in Georgia, then wacky complications ensue among the red-staters. Brian Yorkey’s half-dozen players are directed at less-than-farcical speed; the prolonged, stagy silences are more suited to Pinter. ALYSSA DYKSTERHOUSE Village Theatre, 303 Front St. N., Issaquah, 425-392-2202, villagetheatre.org. $34–$65. 7:30 p.m. Wed.–Thurs. (plus some Tues.); 8 p.m. Fri.; 2 & 8 p.m. Sat.; 2 & 7 p.m. Sun. Ends March 2. (Plays in Everett March 7–30.) A GREAT WILDERNESS In Samuel D. Hunter’s uncomfortable work, Walt (Michael Winters), an aging “conversion therapist,” is contracted to cure a gay high schooler of homosexuality through Scripture and friendly bonding at his Idaho camp. Within a few minutes Daniel (Jack Taylor) is gone. Who is this crumbling, frustrated guy, and what did he do with Daniel? MARGARET FRIEDMAN Seattle Repertory Theatre, Seattle Center, 443-2222. $12–$65. 7:30 p.m. Wed.–Sun. plus some Wed. & weekend matinees; see seattlerep.org for exact schedule. Ends Feb. 16. THE ICELANDIC ILLUMINATION RANGERS To find the missing Aurora Borealis, the Rangers must “navigate the Reykjavik synth-pop scene, and learn what it really means to be friends.” (An adults-only “blue” performance is 10:30 p.m. Feb. 21.) WET, 608 19th Ave. E., 325-5105, washington ensemble.org. $5–$10. 10 a.m. Sat.–Sun. Ends Feb. 23.
Stage OPENINGS & EVENTS
THE ATOMIC BOMBSHELLS “J’Adore: A Burlesque
Valentine” is this troupe’s annual lovefest. The Triple Door, 216 Union St., 838-4333, thetripledoor.net. $20–$45. 7 & 10 p.m. Wed., Feb. 12–Sat., Feb. 15. BOEING, BOEING Marc Camoletti’s jet-age farce about a playboy and his three stewardess girlfriends. Renton Civic Theater, 507 S. Third St., Renton, 425-226-5529, renton civictheater.org. $17–$21. Opens Feb. 14. 7:30 p.m. Thurs., 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends March 1. DOUBT Well, not every show opening this weekend has to be about romance. In John Patrick Shanley’s play, a nun and a priest clash over some disturbing rumors. Stone Soup Theatre, 4035 Stone Way N.E., stonesouptheatre. com. $14–$25. Previews Feb. 12–13, opens Feb. 14. 8 p.m. Thurs.–Sat., 4 p.m. Sun. Ends March 1. FRANKENSTEIN; OR, THE MODERN PROMETHEUS
David Quicksall’s new stage version of Mary Shelley’s classic. Center House Theatre, Seattle Center, 216-0833. Previews Feb. 12–14, opens Feb. 15. Runs Wed.–Sun.; see book–it.org for exact schedule. Ends March 9. GENRE BENDER SEE SPRING ARTS CALENDAR, PAGE 22. Cornish Playhouse at Seattle Center, cityartsonline.com. $20–$30. 8 p.m. Sat., Feb. 15, 7 p.m. Sun., Feb. 16. LETTERS ALOUD Theatrical readings of missives by artists from Beethoven to Kahlo to Slash. ACT Theatre, 700 Union St., 292-7676, acttheatre.org. $10–$20. 2 p.m. Sun., Feb. 16. PRIVATE EYES Twelfth Night Productions’ thriller about tangled relationships. Youngstown Cultural Arts Center, 4408 Delridge Way S.W., 800-838-3006, brownpapertickets.com. $15–$18. Opens Feb. 14. 7:30 p.m. Fri.–Sat. Ends Feb. 22. UNEXPECTED PRODUCTIONS Saluting V-Day the improv way with Comedy of Love at 7 p.m. and Bubbles in the Wine (their Lawrence Welk sendup) at 8:30. Market Theater, 1428 Post Alley, 800-838-3006, unexpected productions.org. $12–$15. Fri., Feb. 14–Sat., Feb. 15. VENUS IN FUR David Ives’ kinky Tony-winning comedy. Seattle Repertory Theatre, Seattle Center, 443-2222. $12– $80. Opens Feb. 12. 7:30 p.m. Wed.–Sun. plus 2 p.m. some Wed., Sat., & Sun.; see seattlerep.org for exact schedule. Ends March 9. Send events to stage@seattleweekly.com, dance@seattleweekly.com, or classical@seattleweekly.com See seattleweekly.com for full listings. = Recommended
•
Sensory Overload
2006 play, well directed by Annie Lareau, Mitchell (Alex Garnett) is a movie star with the problem of keeping his “slightly recurring case of homosexuality under wraps.” He develops tender feelings for rent boy Alex (Jeff Orton), much to the chagrin of Diane (Heather Hawkins), his domineering Hollywood agent; Mitchell’s honesty would threaten both their careers. As a dialogue junkie, I want to mainline Beane’s script. ALYSSA DYKSTERHOUSE ArtsWest, 4711 California Ave. S.W., 938-0339, artswest. org. $15–$34.50. 7:30 p.m. Wed.–Sat., 3 p.m. Sun. MARISOL Jose Rivera’s surreal comedy. Inscape, 815 Seattle Blvd. S., collisiontheater.org. $20–$25 ($10 Mon.) 8 p.m. Thurs.–Sat. & Mon. Ends Feb. 22. MR. PIM PASSES BY SEE REVIEW, PAGE 45. THE NORMAL HEART Larry Kramer’s groundbreaking 1985 AIDS drama. Erickson Theatre Off Broadway, 1524 Harvard Ave., 800-838-3006, strawshop.org. $18–$36. 7:30 p.m. Thurs.–Sat. Ends Feb. 15. SPAMALOT SEE REVIEW, PAGE 45. STORY & SONG Bret Fetzer’s fairy tales get choral backing. Annex Theatre, 1100 E. Pike St., 728-0933, annex theatre.org. $5–$10. 8 p.m. Tues.–Wed. Ends Feb. 26. TEATRO ZINZANNI: ON THE AIR SEE STORY, PAGE 10. THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE The little musical that could, about an unlikely sub-
ject. Seattle Musical Theatre, 7400 Sand Point Way N.E. # 101N, 800-838-3006, seattlemusicaltheatre.org. $24–$40. 7:30 p.m. Fri.–Sat., 2 p.m. Sun., plus 7:30 p.m. Thurs., Feb. 20. Ends Feb. 23. UPSIDE DOWNTON Jet City Improv’s sendup of a certain PBS costume drama. Wing-It Productions, 5510 University Way N.E., 781-3879, wingitproductions.com. $12–$15. 8 p.m. Thurs.–Fri. Ends Feb. 14. For more Current Runs, see seattleweekly.com.
Dance
• KATE WALLICH + THE YC Wallich has been doing her
homework, experimenting in the studio while working on choreography for her first full program. Her style has an inner motor that drives the movement along through a series of moments both lovely and strange. For Super Eagle, she’s been working with Andrew Bartee, who’s branching out from his work with Pacific Northwest Ballet to explore some other options. SANDRA KURTZ Velocity Dance Center, 1621 12th Ave., 325-8773, velocitydance center.org. $15–$25. 8 p.m. Thurs., Feb. 13–Sun., Feb. 16. MARK MORRIS DANCE GROUP SEE THE PICK LIST, PAGE 43. CHOP SHOP: BODIES OF WORK For this annual showcase’s seventh year, producer Eva Stone has snagged a great mix of local talent and artists from elsewhere. This edition adds ballet to the contemporary dance that has been its main focus, including a visit by the Grand Rapids Ballet, directed by former PNB dancer Patricia Barker. SANDRA KURTZ Meydenbauer Center, 11100 N.E. Sixth St., Bellevue, 425-637-1020, chopshopdance.org. $23–$28. 7:30 p.m. Sat., Feb. 15, 3 p.m. Sun., Feb. 16. FISHER ENSEMBLE Indian classical dance, L.A’s Reflective Collective, and more. Chapel Performance Space, 4649 Sunnyside Ave. N., 800-838-3006, fisherensemble.org. 8 p.m. Sat., Feb. 15.
• •
Classical, Etc.
Inspired by a romantic obsession • SEATTLE SYMPHONY Symphonie fantastique. Benaroya
TOMASZ KULAK
EARSUPPLY
Soprano Agata Zubel goes mad for An Index of Metals.
Michel van der Aa’s Up-Close, in which cellist Julie Albers is represented on film as she plays live–”creating an eerie mirrored reality with an older version of herself,” DeLuca says. The three other titles, which alone should be enough to entice you: Spam!, open source, and Karaoke Etudes. On the Boards, ontheboards.org, seattlechamberplayers.org. $12–$20 ($30 for both). 7:30 p.m. Sun., Feb. 16–Mon., Feb. 17.
gone wrong: Berlioz’s Hall, 200 University St., 215-4747, seattlesymphony.org. $19–$117. 7:30 p.m. Thurs., Feb. 13, 8 p.m. Sat., Feb. 15. NORTHWEST SINFONIETTA Nature-inspired works by Beethoven, Honegger, and others. Benaroya Hall, 200 University St., 866-833-4747, nwsinfonietta.org. $27–$55. 7:30 p.m. Fri., Feb. 14. UW SYMPHONY Ludovic Morlot guest-conducts tonight; also, student soloists play concertos by Brahms and Franck. Meany Hall, UW campus, 543-4880, music. washington.edu. $10–$15. 7:30 p.m. Fri., Feb. 14. THE KING’S SINGERS Music by, and in homage to, 15thcentury composer Josquin des Prez. Town Hall, 1119 Eighth Ave., 325-7066, earlymusicguild.org. $20–$42. 8 p.m. Sat., Feb. 15. OCTAVA CHAMBER ORCHESTRA Mozart and Rossini from this lively ensemble. Maple Park Church, 17620 60th Ave. W., Lynnwood, octavachamberorchestra.com. $5–$15. 6 p.m. Sun., Feb. 16. PHILHARMONIA NORTHWEST SEE ARTICLE, PAGE 17. SEATTLE CHAMBER PLAYERS SEE EAR SUPPLY, BELOW. SIMPHONIE NOUVELLE C.P.E. Bach’s tricentennial had escaped my notice until now—the exact date is March 8. Here are a few of his concertos to celebrate. Christ Episcopal Church, 4548 Brooklyn Ave., 633-1611, salish seafestival.org. $15–$20. 7:30 p.m. Mon., Feb. 17.
• • •
Oscar Wilde’s Comedic Masterpiece
Mar. 19–Apr. 13, 2014
www.seattleshakespeare.org (2/12) Ignite! Seattle (2/12) Gabriel Sherman with Timothy Egan How Fox News & Roger Ailes ‘Divided a Country’ (2/13) CityClub presents The Power of Civic Health (2/13) Chuck Adler The Truth Behind Science Fiction (2/13) Robert Gates ‘Secretary at War’ (2/14) Valentine’s Day with the Barefoot Divas ‘Walk a Mile in My Shoes’ (2/15) EMG presents The King’s Singers In Memoriam Josquin des Prez (2/16) Simple Measures presents The Magic of the Flute (2/17) Third Place Books presents BJ Novak: ‘One More Thing’ (2/18) Megan McArdle Fail Your Way to Success (2/18) Town Music Karen Gomyo & Pablo Ziegler (2/20) Tom Zoellner with Jon Talton A History of Trains and Where They’ll Take Us TOWN HALL
CIVICS
SCIENCE
ARTS & CULTURE
COMMUNITY
SE ATTLE WEEKLY • FE BRUARY 12 — 18, 2014
I’m not sure whether, in the title of his work An Index of Metals (2003), composer Fausto Romitelli was making a reference to the rock genre, but there’s more than a little grind and grunge in the exhilaratingly aggressive gestures and distorted timbres BY GAVIN BORCHERT he asks for from the musicians in his chamber opera. It’s one of the five works the Seattle Chamber Players are offering in their upcoming two-day Icebreaker VII festival–all exploring the mashup aesthetic of Metals, which Romitelli referred to as “an initiatory celebration of the metamorphosis and fusion of matter . . . a path towards perceptive saturation and hypnosis, one of total alteration of the habitual sensorial parameters.” Or, as SCP clarinetist Laura DeLuca describes it, it’s “a synthesis that bombards the senses . . . a haze of Pink Floyd on steroids, complete with electric guitar combined with acoustic instruments and pre-recorded electronics synched with abstract visual images projected on three screens.” That’ll be heard Sunday; on Monday there’s
• THE LITTLE DOG LAUGHED In Douglas Carter Beane’s
(2/21) LUCO presents WWW.TOWNHALLSEATTLE.ORG 47 Rimsky-Korsakov, Prokofiev, & Scriabin (2/21) Elizabeth Kolbert
GOOD BOOKSTORES A Reader’s Guide
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The Fourth Phase of Water by Jerry Pollack
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School children learn that water has three phases: solid, liquid and vapor. But we have recently uncovered a fourth phase. This phase occurs next to water-loving (hydrophilic) surfaces. It is surprisingly extensive, projecting out from the surface by up to millions of molecular layers.
The perfect Valentine's Day gift for the smart and artsy loved one in your life, this beautiful book profiles famous and not-sofamous artist couples who have influenced each others' craft. -SE
Jerry Pollack will be at Ada's on February 15th at 3pm! Staff Picks at Ada's Technical Books 6 Easy Pieces
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a&c» Visual Arts B Y K E LT O N S E A R S
Openings & Events THE ARTIST LOBBY In this pop-up exhibition space,
during the Belltown Art Walk, look for new work by Tony Taj, Kate Alkarni, and a dozen other locals. Location: 2006 First Ave. Reception: 5-8 p.m. Fri., Feb. 14. DAVE BLOOMFIELD Colorful, cartoonish animals populate his mixed-media work. Opening reception: 5-10 p.m. Thurs., Feb. 13. Retro Fit Home, 1419 12th Ave., 568-4663, retrofithome.com, Opens Feb. 13, Mon.-Sun., 11 a.m.-10 p.m. Through March 13. GARY HILL As part of his ALOIDIA PIORIM exhibit (SEE RELATED STORY, PAGE 11), Hill will drop a glass replica of the WWII Fat Man nuclear bomb at 3 p.m. Sat., Feb. 15 at the Rainier Oven Building at 1419 S. Jackson St. Safety glasses are required. The superslo-mo video of the event will subsequently be on view at James Harris Gallery (604 Second Ave., 9036220, jamesharrisgallery.com, ending March 1). HITS OF SUNSHINE Featuring Allan Wilson (from dance-punk outfit !!!), designer and musician Heather Treadway (from now defunct Portland drumcore group Explore into Colors), and Lisa Schonberg, an entomologist and drummer, Hits of Sunshine combines fashion, film, and percussive music in this multimedia collaboration created in the deserts of Joshua Tree. Henry Art Gallery, 4100 15th Ave. N.E., 543-2280, henryart.org, $10, Fri., Feb. 14, 6-8 p.m. JEFFREY HODGES Linescapes presents the artists new work in in watercolor, gouache pen, and, oddly enough, vodka. Poco Wine Room, 1408 E. Pine St., 3229463, pocowineandspirits.com, Opens Feb. 13, Mon.Sun., 4 p.m.-midnight. Through March 13. SHAWN MARIE JOHNSON On the Trail of Trees gathers the artist’s naturalistic watercolors, sumi-ink paintings, and metal sculptures, inspired by outings in the Northwest. Reception during Capitol Hill Art Walk: 6-9 p.m. Thurs., Feb. 13. Gay City Health Project, 511 E. Pike St., 860-6969, gaycity.org, Mon.-Sat., 3-8 p.m. Through March 10. MAGIC NUDES Paul Dahlquist and Almendra Sandoval present their unique take on nude photography, paying close attention to the context and moods of their shots. Opening reception: 6-9 p.m. Thurs., Feb. 13. Blindfold Gallery, 1718 E. Olive Way, 328-5100, blindfoldgallery.com, Weds.-Sat., 1-5 p.m. Through March 8. JEN MILLS The prominent local ceramic artist will lecture on her inspiration, her travels to Japan and Australia, and her installation work. Phinney Neighborhood Center, 6532 Phinney Ave. N., 7832244, phinneycenter.org, Wed., Feb. 12, 7-8 p.m. JOHN RIZZOTTO The artist’s still-life paintings clearly borrow from the old European masters, but maintain a modern sensibility with their distinctly contemporary subject matter. Opening reception: 6-10 p.m. Thurs., Feb. 13. True Love Art Gallery, 1525 Summit Ave., 2273572, trueloveart.com, Mon.-Sun., 12-8 p.m. Through March 13. SCHACK TEEN NIGHT Teens are invited to participate in hands-on projects and crafts led by Anna Mastronardi Novak, Celeste Douville, Bonnie AuBuchon, and Jody Cain all along a Valentine’s Day theme. Schack Art Center, 2921 Hoyt Ave. (Everett), 425-257-8380, schack.org, Wed., Feb. 12, 6-8 p.m. TOUCH ME: I’M VIOLENT Most exhibitions require as a rule that viewers do not touch the art. Touch Me: I’m Violent flips that rule by encouraging people to get as handsy as they want, asking the participating artists to create work meant to be physically interacted with. Opening reception: 6-9 p.m. Thurs., Feb. 13. Vermillion, 1508 11th Ave., 709-9797, vermillionseattle.com, Tues.-Sun., 4 p.m.-midnight. Through March 8. UYEN TRAN-GJERDE Portraits & Dreamworlds collects the artist’s Elizabethan-style portraits depicting characters that could have popped out of Alice in Wonderland: red-hooded girls, menacing figures in rabbit masks, and deers in tutus. Opening reception: 5-8 p.m. Thurs., Feb. 13. Ghost Gallery, 504 E. Denny Way (Suite 1), 832-6063, ghostgallery.org, Mon.-Sun., 11 a.m.-7 p.m. Through March 10. WEIRD MIRROR Emily Denton, co-founder of King Dudeaffiliated fashion line Actual Pain, presents a “a night of art and spells” that includes hand made tarot cards and spellcasting at night’s end. Cairo, 507 E. Mercer St., templeofcairo.com, Thu., Feb. 13, 7-9 p.m.
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Send events to visualarts@seattleweekly.com See seattleweekly.com for full listings = Recommended
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arts&culture» Film
Opening ThisWeek
So we have a battle between the human spirit and an operating system offering “the illusion of free will”—a metaphor for a sheepish, mediadriven America that’s rife with possibility but here lacking much conviction. For a city of rampant crime, future Detroit looks better than today’s counterpart, and all the corruption boils down to standard-issue greed. Still, this is a slick piece of filmmaking, with suitably impressive effects and a lot of explosive bang for a PG-13 product. (Paul Verhoeven’s original was emphatically R.) Kinnaman sells his character with impressive body language, and Michael Keaton is despicably good as OmniCorp’s instinctively disingenuous CEO. But in a struggle between man and machine, this RoboCop is lacking in personality. SEAN AXMAKER
Kinnaman’s RoboCop meets his creator (Oldman).
The Girls in the Band RUNS FRI., FEB. 14–THURS., FEB. 20 AT SUNDANCE CINEMAS. NOT RATED. 88 MINUTES.
THEGIRLSINTHEBAND.COM
Winter’s Tale KERRY HAYES/SONY
OPENS FRI., FEB. 14 AT ARK LODGE AND OTHER THEATERS. RATED PG-13. 118 MINUTES.
Like Father, Like Son OPENS FRI., FEB. 14 AT GUILD 45TH. NOT RATED. 121 MINUTES.
Tabloid story, meditative treatment—director Hirokazu Kore-eda has been in this territory before. His masterpiece, Nobody Knows (2004), was based on a news story of children left to fend for themselves when their mother simply abandoned them in their Tokyo apartment. His latest film is also inspired by true accounts of a parental nightmare: Two couples learn that their 6-year-old sons, born on the same day in the same country hospital, were switched at birth. Brought together by the news, the mortified parents must now work out what to do about a very complicated future. Like Father, Like Son does not spread its time over these characters equally. The focus is on Ryota ( Japanese singer/actor Masaharu Fukuyama), a hard-driving architect whose long workday leaves him little time with his wife Midori (Machiko Ono) or their beloved son Keita. The other couple (Lily Franky and Yôko Maki) get less screen time, as their cheerfully messy, mildly trashy small-town existence is contrasted—a little too neatly—with the sterile high-rise apartment of their Tokyo counterparts. The strange thing is, although we see early on what could be improved about Ryota’s way of life and expect the film to eventually come around to that, there’s nothing reassuring about the movie. The situation is so awful, the possible results so equally unsatisfactory, that even the somewhat straightforward lessons that Ryota needs to learn are given tense, uncertain life. We generally see the boys through their parents’ perspectives, the opposite of the approach Kore-eda took in Nobody Knows; much of what was exciting about that film was the privileged position of staying at kid level, not relying on an older, taller point of view. The situation was heartbreaking, but strangely enchanting. Like Father, Like Son feels unbalanced, because you can’t help but wonder what’s going on when the boys are on their own, traveling between houses as the families get to know each other. That could easily be another feature film—and I couldn’t shake the feeling it might be more compelling than tracing the arc of Ryota’s evolution. For that matter, from the one glimpse we get of Ryota’s
own father, yet another movie might be made of the original fraught relationship among those two and the stepmother Ryota still treats with resentment. These imaginary films could also be called Like Father, Like Son—which gives a measure of where Kore-eda’s sad focus is in this uneven, anxious picture. ROBERT HORTON
RoboCop OPENS WED., FEB. 12 AT PACIFIC PLACE AND OTHER THEATERS. RATED PG-13. 121 MINUTES.
The 1987 RoboCop was a perversely violent, savagely smart, and wickedly funny science-fiction action blast, laced with political and social satire. Twenty-five years later, it seems more prescient than ever, which puts the onus on this new RoboCop to justify itself: Just what does it have to say about a world where unmanned military drones are being drafted into stateside police work? Give the film’s producers credit for drafting José Padilha, a Brazilian director who delivered both gritty, high-tension action and savvy social drama in Elite Squad. You get an idea where this movie might’ve gone in its unsettling prologue, as an American robot force patrols the streets of Tehran circa 2028. This foreign occupation looks like an invasion by the Cylons of Battlestar Galactica. Padilha gives the sequence an ominous edge: Civil rights count for little, especially for robot manufacturer OmniCorp; yet soon a cablenews ringmaster (Samuel L. Jackson) is campaigning to bring the robot army home to fight crime. That’s as satirical as the film gets. The rest of the movie focuses on the man in the suit. Joel Kinnaman, the Swedish-born star of the Seattle-set cable series The Killing, straddles streetwise attitude and suburban blandness as Detroit cop and family man Alex Murphy. Mortally wounded in an ambush, he’s rebuilt with military robotics as an urban assault weapon by OmniCorp, which hopes to profit from a mechanical police force. The company’s compromise is a bionic hybrid controlled by human conscience, and Mecha-Murphy is its sales pitch. However, OmniCorp systematically suppresses the human element with software and creative chemistry to better control its brand. (Gary Oldman plays OmniCorp’s complicit but guilt-ridden head scientist.)
Valentine’s Day is early to call a contest closed, but will 2014 possibly offer a dopier movie than Winter’s Tale? With its time-traveling hero, white flying horse, and philosophical bromides (“Can’t you see that everything is connected by the light?”), this movie is like enduring a weekend at a quasi-religious education camp where everyone smiles as vapidly as our doomed, brave heroine. Winter’s Tale opens with two late-19th-century immigrants being turned away at Ellis Island and casting adrift their infant son in U.S. waters. (Doesn’t seem credible? It’s magical realism, baby. Just go with it.) The kid floats to shore and grows up to be adorable rascal Peter Lake (Colin Farrell), who adopts the winged white horse while outrunning the vengeance of Pearly Soames (Russell Crowe, still in Les Miz mode). Pearly, a criminal boss in sooty New York City, doesn’t seem fazed by the unicorn—sorry, flying horse—because Pearly is already a part of the supernatural battle that lies beneath the surface world. Pearly answers to a higher power called Lu (Will Smith), whose name is short for something else we won’t mention here. Peter’s glorious romance with wealthy, consumption-riddled Beverly ( Jessica Brown Findlay, of Downton Abbey) sets the stage for the time-leap that places him in 21st-century New York. Here, his destiny—and it’s all destiny, it’s all meant to be, you see—brings him close to a reporter ( Jennifer Connelly) and back in the vicinity of the eternal Pearly. With nonsense this staggering, the only chance the film has is with a filmmaker given to delirious flights of visual fancy. Oscar-winning screenwriter and first-time feature director Akiva Goldsman is not that filmmaker. Writing four screenplays for Ron Howard gave Goldsman practice in perfecting the art of overstated exposition, and Winter’s Tale has much to explain. Winter’s Tale is based on a best-selling and apparently widely beloved 1983 novel by Mark Helprin. I have not read it. It has surely been dramatically pared and otherwise altered. But it’s hard to imagine how this film could have been sourced from anything worthwhile. At least a romantic fantasy such as Somewhere in Time embraced its sci-fi premise and didn’t go wandering off into metaphysical assertions that everything is connected and we’re all here for a reason and other signs of significance. (The Lego Movie makes the same assertions, but is much funnier about it.) In other words, get out your cloud atlas, folks, because it’s rolling in thick around here.
SE ATTLE WEEKLY • FE BRUARY 12 — 18, 2014
One of the greatest detriments to American popular music is that it’s traditionally been a boys’ club. Only recently have we seen afterschool and summer programs for girls interested in rock ’n’ roll. Yet there’s still an historical misperception that women have only recently picked up indelicate instruments and made a big noise. Judy Chaikin’s documentary thoroughly discredits that fallacy by telling the history of the women who were not content just to watch the big bands that filled American ballrooms through the ’30s and ’40s. Creating their own, these women played trumpet, drums, and sax. And according to Chaikin’s interviewees, supported by archival footage, they could swing just as hard as the men. It wasn’t easy. Female musicians were considered a novelty in the prewar era, a point driven home by one subject who recalls a memorable female act from her childhood: Siamese twins playing saxophones on roller skates. Unlike the female vocalists up front, women weren’t allowed to play in the big bands led by Benny Goodman Roz Cron, and Duke of the Ellington. International Hence the Sweethearts of Rhythm. formation of allfemale bands, the heart of Chaikin’s doc: groups like Ina Ray Hutton’s Melodears and the International Sweethearts of Rhythm. These groups were few, though, leaving Chaikin with more anecdotes than an easy, organic narrative. Fortunately for the viewer and these musicians, history intervened: World War II forced men to put down their trumpets and pick up rifles, so women took their chairs. As Chaikin’s subjects tell it, the war was a great time: Their bands were in demand, playing big shows in the U.S. and overseas through the USO. Yet there were compromises, we learn: Musicians were asked to wear pink ruffles, needed to have long hair, and weren’t allowed to wear saddle shoes—lest they be thought lesbians. The Girls in the Band moves quickly through the postwar decades, from ’60s social unrest to feminism to the continued difficulties (and modest successes) of outstanding solo artists like Mary Lou Williams. Chaikin briefly shines a light on contemporary jazz musicians fighting the same battles as before. Some of these modern artists knew nothing of the bold women who fought to play in the prewar years, since no history was available on the subject. Thanks to Chaikin, now it is. MARK BAUMGARTEN
film@seattleweekly.com
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arts&culture» Film FEB ��–��
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THE MONUMENTS MEN One week only
BLUE IS THE WARMEST COLOR Held over
WALKING THE CAMINO Feb 13–17
NOIR CITY 2014 Feb 16 | Doc Brunch
CUTIE AND THE BOXER
THE FILM CENTER WILLIAM SHAKESPEARE’S
CORIOLANUS STARRING TOM HIDDLESTON (THOR, THE AVENGERS)
FEB 18 - MARCH 1 | SIFF CINEMA UPTOWN
We Love Weekend! Feb 14 | Valentine's Day
HAROLD AND MAUDE with Cat Stevens sing along Feb 15 & 16
BEFORE SUNRISE TRILOGY Feb 17 | Recent Raves
MUSEUM HOURS
SEATTLE WEEKLY • FEBRUARY 12 — 18, 2014
SIFF CINEMA UPTOWN | 511 Queen Anne Ave N SIFF FILM CENTER | Seattle Center
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MAUVAIS SANG From 1986, Leos Carax scored his first
BY BRIAN MILLER
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FESTIVAL PROGRAMS Fri Feb 14
DEATH IS A CARESS DEATH OF A CYCLIST Sat Feb 15
WAGES OF FEAR HARD HARDLY A CRIMINAL TOO LATE FOR TEARS THE HITCH-HIKER
Local & Repertory • THE ACT OF KILLING Like Armenia and Rwanda,
Indonesia belongs to that second tier of genocides outside modern European borders. In making this Oscar-nominated documentary, Joshua Oppenheimer somehow ingratiated himself with Indonesian killers, convincing them to make a movie that would garishly, heroically re-enact their past misdeeds. His naive yet murderous subjects frequently ask his opinion, off-camera, as if he were a sympathetic participant in the project. In the studio and a few bizarre outdoor tableaux with grinning showgirls, the perpetrators ritually restage their murders and massacres—it’s celebratory for them, perhaps cathartic on some level, but you could never imagine Nazis being treated in this grotesque, ironic manner. Instead of the banality of evil, we have the kitsch of evil. (NR) BRIAN MILLER Grand Illusion, 1403 N.E. 50th St., 523-3935, grandillusioncinema.org, $5-$8, Sun., Feb. 16, 2 p.m. DOCBRUNCH Granted remarkable access to the lives of struggling Japanese artists Ushio and Noriko Shinohara in this poignant documentary, debut director Zachary Heinzerling follows the couple through the most mundane details of their marriage and art in the Oscar-nominated Cutie and the Boxer. The very spry Ushio, now 81, spends half the movie shirtless as he brushes his teeth, cooks, pounds paint onto canvas with boxing gloves, and kvetches in their cluttered Brooklyn loft about his lack of commercial success. Noriko is determined to escape his artistic shadow. With Ushio away in Japan, she goes to dance class and works in her notebooks. “I feel so free when you’re not around,” she later tells him. Heinzerling plainly loves both his subjects, but it’s impossible for him and the viewer not to love long-suffering Noriko more. I think many women—even if married only a few years—will see themselves in Noriko. (NR) B.R.M. SIFF Cinema Uptown, 511 Queen Anne Ave. N., 3249996, siff.net, $6-$11, Sun., Feb. 16, 1 p.m. THE GOLDEN AGE OF ITALIAN CINEMA The minute young Ermanno Olmi took his first job at Italy’s Edison Electric, he knew he couldn’t bear to stay there. But he did stay until age 33, and turned his confinement into his first masterpiece, 1961’s Il Posto (translated: The Job), about a tyro clerk in Milan struggling to escape dronehood and court a cute coworker despite bureaucratic obstacles. Using non-actors (the autobiographical hero actually grew up to be a supermarket manager), financed by coworkers, and shooting on weekends in the real office, Olmi crafted a subtle, precise, sometimes puckish world quite distinct from his neorealist contemporaries. It’s not as full-blooded as his mature masterpiece, 1978’s The Tree of Wooden Clogs, but it’s a worthy forerunner of Clerks, Office Space, and in a mild way, even the Kafkaesque satire of Brazil. (NR) TIM APPELO Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org, $63-$68 (series), Wed., Feb. 12, 7:30 p.m.; Thursdays, 7:30 p.m. Through March 13. HAROLD AND MAUDE In Hal Ashby’s 1972 countercultural touchstone, suicidal Bud Cort falls for lively Ruth Gordon, each of them learning valuable life lessons along the course of their, ahem, romance. One indication of how times have changed is how Cort, then dressed like a dweeb of his era, could almost pass for a Williamsburg hipster today. (NR) B.R.M. SIFF Film Center (Seattle Center), 324-9996, siff.net, $6-$11, Fri., Feb. 14, 6:30 & 8:30 p.m.
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Send events to film@seattleweekly.com See seattleweekly.com for full listings = Recommended
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Mon Feb 17
PÉPÉ LE MOKO RIFIFI RIPTIDE QUAI DES ORFÈVRES *Fri-Sun films introduced by The Czar of Noir, Eddie Muller.
SIFF CINEMA UPTOWN | 511 Queen Anne Ave N SIFF FILM CENTER | Seattle Center
BEFORE SUNRISE • RICHARDAllLINKLATER’S three installments of the beloved trilogy TRILOGY
are screened, with Ethan Hawke and Julie Delpy. See siff.net. for schedule. (R) SIFF Film Center, $6-$11, Sat., Feb. 15; Sun., Feb. 16. SEATTLE BLACK PANTHER FILM FESTIVAL As part of this salute to Black History Month, this weekend festival will include figures like Bobby Seale and Angela Davis among its programming. (NR) Ark Lodge, 4816 Rainier Ave. S., brownpapertickets.com, $12, $30$65 series, Feb. 14-16. TROUBLE EVERY DAY Basically a French vampire flick (with most dialogue in English), Claire Denis’ 2001 Trouble belongs to that realm of spectacularly bad films that can’t even be redeemed by camp snickers. Vincent Gallo plays an American doctor honeymooning in Paris with his wife with the secret agenda of finding a Dr. Frankenstein-like physician whose own wife (Béatrice Dalle) has been transformed into a nympho-cannibal monster. The thin valence between eros and violence is a staple of the Dracula genre, but there’s too much Gallic sulking here, not enough honest vampire action. “I want to go home,” announces a weary Gallo after 101 minutes of Trouble; viewers will feel the same way 10 minutes into the movie. Note: no 7 o’clock show on Monday. (NR) B.R.M. Northwest Film Forum, $6-$11, Feb. 14-19, 7 & 9 p.m.; Mon., Feb. 17, 1 & 3 p.m. THE FIGHT TO SAVE BRADDOCK • WE ARE ALIVE! Director Tony Buba will discuss his new HOSPITAL
doc., set in the declining Rust Belt town of Braddock, Pennsylvania. This screening is especially notable given the link to Born by a River, the photo show by LaToya Ruby Frazier currently at SAM, since she also addresses the loss of her hometown’s old community center, i.e. the hospital. See that show first, and Buba’s doc should be that much more enlightening. (NR) Northwest Film Forum, $6-$11, Sun., Feb. 16, 7 p.m.
GOLDEn GLOBE AWARD CRITICS’ CHOICE AWARDS GOLDE ®
Sun Feb 16
MURDERERS ARE AMONG US IT ALWAYS RAINS ON SUNDAY DRUNKEN ANGEL BRIGHTON ROCK
hit with this amped-up, future-set love story starring Juliette Binoche and Denis Lavant. With a criminal plot that revolves around illness and remedies, there’s a direct nod to the mounting AIDS epidemic, but the plot ends not mattering so much as sheer youthful energy and mad glorious love—meaning the love that Carax (Holy Motors) has for the movies. (NR) Northwest Film Forum, 1515 12th Ave., 829-7863, nwfilmforum.org, $6-$11, Feb. 14-20, 7 & 9 p.m.; Mon., Feb. 17, 3 p.m. MUSEUM HOURS SIFF continues its Monday night “Recent Raves!” series with Museum Hours, a smallscale drama that writer/director Jem Cohen begins in the Kunsthistorisches Museum in Vienna. Johann (Bobby Sommer) is a museum guard, now calm and gray but once a rock musician. Anne (Mary Margaret O’Hara) is visiting from Canada, called to Austria because a cousin has gone into a coma and Anne is her only surviving relative. The solitary Johann is available to guide Anne through drizzly Vienna. Johann’s single stray mention of a past male partner is enough to cancel any expectation of romance here, and indeed such a conventional plot turn would be too much for this quiet little study, which plays like Lost in Translation half asleep. It sounds as though Cohen—a veteran documentarian directing his first feature—is approximating a conversational Richard Linklater vibe, but Museum Hours isn’t going there, either. (NR) ROBERT HORTON SIFF Film Center (Seattle Center), 324-9996, siff.net, $6-$11, Mondays, 7 p.m. Through Feb. 24. PRETTY IN PINK John Hughes wrote this 1986 teen hit for his Molly Ringwald. (Howard Deutch directs.) The film is as much about class as adolescence, as Ringwald’s princess from the wrong side of the tracks is asked to the senior prom by rich prince Andrew McCarthy. (PG-13) Central Cinema, 1411 21st Ave., 686-6684, central-cinema.com, $6-$8, Feb. 14-18, 7 p.m.; Sat., Feb. 15, 3 p.m.; Sun., Feb. 16, 3 p.m.
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t’s no secret that Seattle is an innovative city full of thinkers and tinkerers, so it’s only natural that the city owes a lot to crowd-funding platforms that help all those ideas come to life. The geek community is in great debt BY TERRA CLARKE OLSEN to Kickstarter in particular. Local cartoonist Kris Straub used it to publish Broodhollow, his popular online comic, in a beautiful hardbound edition, while Sasquatch Game Studio raised enough money to make Primeval Thule, its RPG campaign, a reality (they’re currently in the process of finishing it). Seattle has more great geeky projects currently being funded at Kickstarter. I love seeing fellow nerds succeed, but I especially love helping local nerds succeed, so check out these Kickstarters and see which speak to your inner nerd. I have backed all of these projects, and want to see them become a reality. Help me help you, Seattle! Our city and fellow geeks will thank you.
GEEKLYREPORT
The Doubleclicks’ New Album Dimetrodon + Weekly Songs Local nerd band Doubleclicks
plays songs about the important things in life, like Dungeons & Dragons, books, and dinosaurs. They also made a great video last year about lady geeks, titled “Nothing to Prove,” and wrote the official Cards Against Humanity theme song (both brilliant!). The Doubleclicks want to make a new album and release a song a week, which is no small feat. If you like their music, consider making a donation to make this project a reality. Kickstarter ends Feb. 18.
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Started by local indie gaming company Cicatriz, Troubadour is one of the more creative Kickstarter projects I’ve seen: an interactive graphic novel “about accepting the responsibilities and expectations of life in a world of toxic distractions,” complete with a pointand-click video game and music. If they get the funding, Troubadour will be available on PC and Mac. Kickstarter ends Feb. 21. Terrene Odyssey: Battle Card Game Created by the small team of lifelong gamers at CGC Games, Terrene is a 1v1 or 2v2 card game based on traditional RPG battle systems; it aims to be complex enough for hardcore gamers but accessible for casual gamers. Already beta-playtested, the game is ready to go—the makers just need a little help getting to the final stages of physical production. Check out the video and images for more details. Kickstarter ends Feb. 26. E
geeklyreport@seattleweekly.com
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Geeky Sprinkles: Fun Sprinkle Shapes for Geeky Baking Local blogger Geeky Hostess
aims to make sprinkles representing three genres of fandom—Doctor Who, steampunk, and Harry Potter. If you’re a nerd who likes to bake, this tasty, geektastic project is easy to back. Kickstarter ends Feb. 18.
NOW SHOWING THRU THURS 2/13
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El Corazon www.elcorazonseattle.com
109 Eastlake Ave East • Seattle, WA 98109 Booking and Info: 206.262.0482
dinner & show
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THURSDAY, FEBRUARY 13 Mike Thrasher Presents:
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(FAREWELL TOUR) with Jaded Mary, Angels Cut and Tyranny Theory Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $13 ADV / $15 DOS
FRIDAY, FEBRUARY 14
WED/FEBRUARY 12 - SAT/FEBRUARY 15 • 7PM & 10PM
the atomic bombshells:
j’adore! a burlesque valentine SUN/FEBRUARY 16 • 7PM & 10PM
the presidents of the united states of america (acoustic) MON/FEBRUARY 17 • 7:30PM AN EVENING WITH
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sweet honey in the rock
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THE EPILOGUES with Night Riots, Hatters For Hire and Snowday Lounge Show. Doors at 7:30 / Show at 8PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS
MONDAY, FEBRUARY 17
ABIGAIL WILLIAMS with Erimha, Un, Darkmysticwoods
ARLISS NANCY with The Waywards, Steven Cole Smith,
FRIDAY, FEBRUARY 14
MONDAY, FEBRUARY 17
FIGHTING MANIACS with Shades Of Static, Ludovico Treatment
TIME AND DISTANCE with The City Comes Alive, Kight
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LAKEVIEW DRIVE with
Gliceryn, The Sweetlix and Zinc Project Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS
plus guests Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS
and Alex Menne Lounge Show. Doors at 7:30 / Show at 8PM ALL AGES/BAR W/ID. $6 ADV / $8 DOS
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KISW (99.9 FM) Metal Shop & El Corazon Present:
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JUST ANNOUNCED 3/12 LOUNGE THE SKINS 3/21 LOUNGE DENNIS IS DEAD 3/22 SPIRIT CARAVAN 3/31 LOUNGE CARSON ALLEN W/ GINO COLLETTI 4/13 OFF! 5/5 NAILS / IRON LUNG 8/10 THE COURTNEY JOHN PROJECT UP & COMING 2/19 LYNCH MOB (FEAT. GEORGE LYNCH FROM DOKKEN) 2/20 THE LAWRENCE ARMS 2/22 PENTAGRAM 2/22 LOUNGE MAJOR LEAGUE 2/23 LOUNGE RINGO DEATHSTARR 2/25 LOUNGE DAVE HAUSE 2/26 CHILDREN OF BODOM / DEATH ANGEL 2/27 T. MILLS 2/27 LOUNGE SAUL 2/28 T.J. MILLER 2/28 LOUNGE WE BUTTER THE BREAD WITH BUTTER 3/1 INFEST 3/2 MIDDLE CLASS RUT Tickets now available at cascadetickets.com - No per order fees for online purchases. Our on-site Box Office is open 1pm-5pm weekdays in our office and all nights we are open in the club - $2 service charge per ticket Charge by Phone at 1.800.514.3849. Online at www.cascadetickets.com - Tickets are subject to service charge
The EL CORAZON VIP PROGRAM: see details at www.elcorazon.com/vip.html and for an application email us at info@elcorazonseattle.com
THU/FEBRUARY 20 • 8PM
hot tuna (acoustic) w/ david lindley FRI/FEBRUARY 21 • 8PM
tony furtado w/ lydia ramsey SUN/FEBRUARY 23 • 7:30PM
SEATTLE WEEKLY • FEBRUARY 12 — 18, 2014
david wilcox w/ justin farren
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next • 2/24 jon mclaughlin w/ dwayne shivers • 2/26 throwing muses • 2/27 mason jennings (solo) w/ rebecca pidgeon • 2/28 the united states of football (film) • 3/1 nicki bluhm & the gramblers (at neumos) • 3/3 korby lenker w/ carrie clark • 3/4 benjamin verdoes • 3/6 sea wolf • 3/8 john gorka w/ antje duvekot • 3/9 tayla lynn w/ jessica lynne • 3/12 - 3/16 house of thee unholy • 3/18 nils frahm w/ douglas dare
happy hour every day • 2/12 fawcett, symons and fogg • 2/13 shiftless layabout • 2/14 ranger and the “rearrangers” / ben rice band • 2/15 the hot mcghandis • 2/16 hwy 99 blues presents: robinmoxie•2/17crossrhythmsession•2/18singer-songwritershowcasefeaturing: grace love, whitney monge and geroge grissom • 2/19 the joe montgomery project TO ENSURE THE BEST EXPERIENCE · PLEASE ARRIVE EARLY DOORS OPEN 1 HOUR PRIOR TO FIRST SHOW · ALL-AGES (BEFORE 9:30PM)
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arts&culture» Music
Gouge Away Worried the Pixies are souring their legacy? They don’t give a shit. BY DANIEL PERSON
O
Left to right: Joey Santiago, Black Francis, and David Lovering
“If you like Meet the Beatles and don’t like Sgt. Pepper’s, don’t listen to Sgt. Pepper’s.” The other Pixies are cognizant of these reviews as well—what Francis called “resistance” from some of the fan base. But he and drummer Dave Loverling have said they needed to start creating again—if not for the fans’ sake, for their own. “We wanted to compete on a real playing field again,” Francis told one interviewer. “You get hungry, you want to be judged.” Or, as Loverling put it, “We didn’t want to turn into a casino act.” Santiago balks at the suggestion that the Pixies would ever become a “casino act,” but he says the new music has changed the dynamics of the live shows—which are largely selling out—presenting fans with songs they haven’t known by heart since 1991. “It’s a different vibe. Some have heard it, some haven’t, and we try to sell it,” he says. “We try to go, yeah, this is good; to you naysayers, yeah, it is good. “As we go on, people are starting to sing the new stuff. So I think it’s been successful. Obviously it injects new blood in there, and we feel good about it.”
MICHAEL HALSBAND
There’s little doubt that Deal’s departure made
than 20 years. Suddenly, the Pixies was no longer a well-preserved artifact—it was a living and breathing and somewhat disintegrating band. And it was making new music, which finally started coming to light last fall with two foursong EPs, simply titled EP-1 and EP-2.
“You know, [the new music] is never going to sound like Surfer Rosa. If [the fans] want it to do that, just put the fucking record on.” At its best, the new material feels like a natural progression of the creative arc of the band’s first five releases. The best songs, “Blue Eyed Hex” and “What Goes Boom,” are fingernailson-chalkboard grinders reminiscent of “Planet of Sound” or “Subbacultcha.” “Andro Queen” recalls the Pixies’ underappreciated spaced-out moments. Throughout, the music is essentially Pixies, minus Deal’s cool and husky vocals.
But some critics have been unreceptive (putting it mildly) to the new EPs, and the music has produced an unwarranted amount of handwringing over what it all means in the Pixies’ big picture—echoing Deal’s fear that new releases could somehow damage the canon as a whole. The harshest of these critics, Pitchfork, rated EP-1 a 1.0 and EP-2 a 2.0, and glumly concluded the second review by stating that the Pixies had become “a franchise” and that the new releases “are an increasingly mournful asterisk affixed to a beloved legacy.” To which guitarist Joey Santiago says: “We don’t give a shit.” Santiago, speaking to Seattle Weekly by phone last week, perks up from his audible road exhaustion and seems primed to talk about the negative reviews. “You know, [the new music] is never going to sound like Surfer Rosa,” Santiago says, referring to an early, seminal album. “If [the fans] want it to do that, just put the fucking record on. It’s there. It’s not going to disappear. If you lost it, buy another one. Plain and simple.
some critics suspicious of this iteration of the Pixies. Since the first breakup, Black has been more often than not depicted as the big bald villain (he sent the break-up fax) and Deal the ever-cool punk-girl hero. When news first surfaced in 2007 that Francis wanted to make new music and Deal didn’t, the knee-jerk reaction was to side with Deal. As indie music site Tiny Mix Tapes put it: “Frank Black wants to put out a new Pixies album. Kim Deal doesn’t want a new Pixies album. I agree with Kim. Next story please.” I asked Santiago whether he sees people— music journalists in particular—taking sides in this latest turmoil. “It’s a natural thing for someone to leave and the band to continue on. There’s still three-quarters of us, for crying out loud, who contributed heavily to that sound. Charles [Black Francis] still writes the songs. There’s the guitar, I still do it. There’s the drums, he still does it. Obviously we miss Kim, but what can we say? “If there are people who think Kim Deal is better than Charles, I don’t give a shit. I just don’t. I just don’t give a rat’s ass. And I think that’s a healthy way to look at things, by the way.” As for that song Cobain gave the world in ’91: Santiago has said before, with tongue in cheek, that the Pixies’ biggest contribution to music was “being original so Nirvana could rip a song.” But speaking to a Seattle reporter, he was more diplomatic. “Whatever. I don’t think they did. If they did, then they did it in a very good way. It sounds like them.” E music@seattleweekly.com
THE PIXIES With Best Coast. The Paramount, 911 Pine St., 902-5500, stgpresents.org/paramount. SOLD OUT. 7:30 p.m. Tues., Feb. 18.
SE ATTLE WEEKLY • FE BRUARY 12 — 18, 2014
n September 23, 1991, the Pixies released their fifth studio album, Trompe le Monde, a thrashing tour de force that combined hardcore punk and surfer cool as only the Pixies could. Like every previous Pixies album, Trompe le Monde received critical acclaim but meager action in record stores. It would turn out to be the band’s final album before it disbanded in 1993—infamously via fax. Yet in a strange twist, on that September day the Pixies’ legacy as one of the most influential bands in American rock history was cemented—thanks not to anything found on Monde but to another album released that day: Nevermind. Kurt Cobain would later say that when writing Nevermind ’s opening track, “Smells Like Teen Spirit,” he was “basically trying to rip off the Pixies.” “I have to admit it,” Cobain said. “When I heard the Pixies for the first time, I connected with that band so heavily that I should have been in that band—or at least a Pixies cover band.” The Nirvana frontman wasn’t alone in his praise. In the decade after its breakup, the Pixies were crowned punk-rock royalty in absentia by scores of equally gushing celebrity endorsements. Thom Yorke told the crowds at Radiohead concerts that the Pixies were “his heroes.” David Bowie said the Pixies changed the way rock was played. Amazingly, and to everyone’s delight, when the Pixies reunited in 2004, the band that took the stage was a perfectly preserved relic of the pre-Nevermind era. All four original members were present, performing material strictly drawn from the original catalog. It was a rare and precious do-over for those who missed them the first time around. And the reunion was wildly successful, earning the group top billing at Sasquatch! and Coachella, not to mention $14 million, according to the Chicago Tribune. I caught two Pixies shows in the first two years the band was back together, and it felt vital. The Pixies weren’t repeating “Where is My Mind” by rote for the paycheck; they seemed as sincere in their love for the material as their adoring fans were. Yet in one important way, the band wasn’t vital: For nearly 10 years after reuniting, the Pixies did not release any new music, aside from one single that felt like a B-side with no A-side (“Bam Thwok”). Since at least 2007, the debate between leader Black Francis and bass player Kim Deal over whether the Pixies should make new music has been aired in the open, with Deal saying she feared new releases would sully what’s already out there (and suggesting that Francis, nee Frank Black, nee Charles Thompson, only brought up the possibility to drum up press for his solo work). But that all changed in one fell swoop last spring, when Deal left the group during the band’s first substantial studio sessions in more
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arts&culture» Music
SevenNights
Friday, Feb. 14
SEATTLE WOMEN IN JAZZ FESTIVAL Now in its
Dress up in your finest digs and come prepared to swoon at DREAMBOATS! A VALENTINE’S SOIREE AND MAN AUCTION. Some of Seattle’s dreamiest musicians will be on hand to sing you sweet love songs; after the entertainment, bid on your hunkiest music man for a private concert and some one-on-one time the rest of the evening. Blue Moon, 712 N.E. 45th St., 675-9116, bluemoonseattle.wordpress.com. 8:30 p.m. $10. 21 and over. MARGERY CERCADO BALL OF WAX VOL. 35 RELEASE SHOW It’s hard to believe that Ball of Wax, the quarterly audio zine helmed by songwriter Levi Fuller, has never in its nearly nine years chosen love songs as a connective theme. Sure, it’s a bit trite, but amore is a gold mine for the collection of singer/songwriters that Fuller often invites to lend an original song to the collaboration. For the volume’s release show, Fuller teamed with former Comet Tavern booker Mamma Casserole, who was busy planning a tribute to the excellent (and largely ignored) ’60s rock group Love. So this will be a show of love songs and Love songs. Genius. Featuring Hand of the Hills, Gonzo, Sam Russell, Robert Deeble, Virgin of the Birds, Bandolier, Harbor Island, Joshua Schramm featuring Fairy Robot. Lo-Fi Performance Gallery. 9 p.m. $7; includes a free copy of the Ball of Wax 35 love-song compilation. 21 and over. MARK BAUMGARTEN
Send events to music@seattleweekly.com. See seattleweekly.com for full listings.
ditional, a showtune-turned-jazz standard that’s been performed by everyone from child star Mitzi Green to Frank Sinatra to Chaka Khan. But the song belongs to Chet Baker. The late jazz great—who will be paid tribute by Jimmie Herrod, Wayne Horvitz, Al Keith, and Geoff Harper on this particular night likely because of that song—sings with the cool, reassuring resignation that marks his greatest work. You can’t help but wish to be that valentine, even though it probably means just sitting around the club smoking cigarettes all night. Then Baker pulls out his trumpet, and you’re just done for. The Royal Room, 5000 Rainier Ave. S., 906-9920, theroyalroomseattle.com. 8 p.m. Free. MB If Seattle Weekly’s music department sent valentines, all these bands would be getting explicit ones. We’re hot for them hard. We called XVIII EYES’ singer Irene Barber “one of the city’s most alluring vocalists.” We named SEACATS our “Best Cat Band of 2013,” then lied to our readers by saying one of its songs was in a Jennifer Love Hewitt movie from the 1990s, so bad did we want them to buy it. We’ve been breathing heavy over FOX AND THE LAW all kinds of ways since 2011. But as it is, we’ll just be the creeps in the back of the Sunset, trying to do some a-luring of our own. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern.com. 9 p.m. $7. Proceeds go to Jumpstart Seattle. 21 and over. DANIEL PERSON
E D I T E D B Y G W E N D O LY N E L L I O T T
Wednesday, Feb. 12 Seattle’s TANGERINE has a knack for swooning guitars and bright, syrupy melodies. The band’s 2013 EP Radical Blossom felt like a tribute to lazy summer days. Marika Che’s talent for infectious melody and Exile in Guyville-reminiscent guitar lines is prevalent on most of the band’s still-growing catalog. With the Sour Notes, Ephrata. Lo-Fi Performance Gallery, 429 Eastlake Ave., 254-2824, thelofi.net. 8 p.m. $7. 21 and over. DUSTY HENRY After the 2012 Café Racer shooting, friends formed INLY to honor and pay tribute to those they lost. The band’s mixture of alt-rock and jazz pays homage to the diversity of Café Racer itself. Out of tragedy, the band has created something beautiful, and tranquil melodies and tasteful arrangements abound. With Cold Guns, Gabriel Mintz. Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599, tractortavern.com. 8 p.m. $8. 21 and over. DH
Thursday, Feb. 13
second year, this celebration includes not only live performance (though there’s much of it) but also student competitions, film, swing dance parties, and discounts at participating Columbia City businesses. But with such a range of talent represented here, from prolific composers like Samantha Boshnack to Seattle-Kobe Female Jazz Vocalist winner Nancy Erikson, I’d say go for the sweet, sweet music. Through Sunday. Columbia City; see seattlewomeninjazz.com for complete venues and showtimes. GWENDOLYN ELLIOTT MINDI ABAIR’s playing puts a rock-’n’-roll edge on jazz standards: it’s more Clarence Clemons than Kenny G. The Grammy-nominated sax player recently toured with Aerosmith after a two-year gig on American Idol. Definitely not your father’s soundtrack to romance. Through Sunday. Jazz Alley, 2033 Sixth Ave., 441-9729, jazzalley.com. 7:30 p.m. $34.50. MICHAEL F. BERRY 2 CHAINZ/PUSHA T Grammy nominee 2 Chainz invokes Machiavelli to describe his tour: “ ‘Everyone sees what you appear to be, few experience what you really are.’ 2 G.O.O.D. 2 Be T.R.U.” He and frequent collaborator Pusha T were two of 2013’s most talked-about rappers, making this tour almost too good to be true. With August Alsina. Showbox SoDo, 1700 First Ave. S., 652-0444, showboxonline.com. 8 p.m. $42.50 adv./ $45 DOS. MFB
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arts&culture» Music
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Because nothing says romance like a three-day, 30-band metalcore festival, the third annual TOUGH LOVE FEST begins tonight, V-Day, with This or the Apocalypse headlining. Earth Crisis headlines night two, and Goliath rounds out the final show. The songs may not be romantic, but at least you can get some full-body contact down in the pit. Studio Seven, 110 S. Horton St., 286-1312, studioseven.us. 4 p.m. $25 single day/$50 all three days adv. DAVE LAKE Is there anything more romantic than flannel, sweet bluesrock jams, and a neck beard? Maybe. But is there a band in town any better at playing meditative and melancholy love songs that you can actually dance your ass of to than THE MOONDOGGIES? I highly doubt it. The Seattle band should be playing quite a bit from its masterful third full-length, Adios I’m a Ghost, an album perfect for the couple that likes to boogiewoogie as much as it likes to sing and sway. With Ark Life, Dean Johnson. Tractor Tavern. 9 p.m. $15. MB MARCO COLLINS’ “LOVES ME” VALENTINE’S DAY SHOW The legendary DJ hosts an evening of local
talent and songs celebrating the romance of the day. “It’s so intimate,” says Collins of the all-ages venue he chose, the Volterra Drawing Room. “Have dinner next door at Volterra and then enjoy a Valentine’s Day show curated for a truly romantic listening experience.” If you really love your sweetie (and your wallet), though, one of those (heart-shaped?) pretzels from People’s Pub right down the street would be just as nice. With Shelby Earl, Shaprece, Shawn Smith, Maiah Manser, Mark Shirtz. Volterra Drawing Room, 5407 Ballard Ave. N.W., brownpapertickets.com. 7 p.m. General seating $15, reserved seating $25. GE
Saturday, Feb. 15
During his time fronting the Seattle band Flop in the ’90s, RUSTY WILLOUGHBY never got rightful credit for advancing the pop-punk genre. Since Flop’s breakup, he’s had an extensive solo career, replacing his overdriven electric guitar with crisp acoustic tones. His
voice can still move an audience, just in a more adultcontemporary realm. With Star Anna, Courtney Marie Andrews, Mike Dumovich. Columbia City Theater, 4916 Rainier Ave. S., 722-3009, columbiacitytheater.com. 8:30 p.m. $10 adv./$12 DOS. 21 and over. DH Moving thousands of miles from her then-home of Minneapolis to Durban, South Africa, in 2009 gave Americana singer/storyteller JASPAR LEPAK, now based in Seattle, more than enough material for her sixth album, 2011’s Forgiving Wind. Written and recorded entirely in Durban, Wind showcases Lepak’s delicate voice and the city’s talented musicians, who contributed banjo, mandolin, dobro, percussion, and more. Couth Buzzard Books, 8310 Greenwood Ave. N., 436-2960, buonobuzzard.com. 7:30 p.m. Free. All ages. AZARIA C. PODPLESKY In many ways SHEARWATER is a “thinking person’s” Coldplay, and that’s no disservice to either group. Both bands tend toward epic and triumphant melodies and arrangements. Piano arpeggios, building drums, and rising guitar lines show up often, though Shearwater differs by leaning toward darker impulses. With Jesca Hoop, Alicia Amiri. The Crocodile, 2200 Second Ave., 441-4618, thecrocodile. com. 8 p.m. $12 adv. All ages. DH NOAH GUNDERSEN has gone from Americana-steeped folk balladeer to Led Zeppelin–indebted indie rocker and back again. Pairing with his sister, violinist and vocalist Abby Gundersen, Noah has built a formidable reputation on heartbreaking lyricism and warm acoustic arrangements. The siblings’ voices intertwine serenely in their lush and sparse folk narratives. With Silver Torches. The Neptune, 1303 N.E. 45th St., 682-1414, stgpresents.com. 8 p.m. $15 adv./$17 DOS. All ages. DH MARCO COLLINS’ “LOVES ME NOT” POSTVALENTINE’S DAY SHOW More of the above, only
on the flip side. With Jason Dodson (the Maldives), Mike Herrera (MXPS), Naomi Wachira, Ruler, S (Jenn Ghetto). Volterra Drawing Room. 7 p.m. General seating $15, reserved seating $25. GE
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so much young talent springing out of the CD, a group like 206 Zulu is becoming increasingly important as a resource for Seattle’s incredibly fertile scene. The organization turns 10 this year, and will celebrate with a weekend-long celebration featuring legends like Afrika Bambaataa, who wrote the genre-defining hip-hop anthem “Planet Rock” and helped foster the Universal Zulu Nation, the youth-oriented hip-hop-awareness movement that 206 Zulu grew out of. In addition, the celebration will host a breakdancing B-boy/B-girl “Throwdown Championship” with cash prizes, and a “Meeting of the Minds” community potluck dinner. Washington Hall, 153 14th Ave., 622-6952. See 206zulu.com for complete schedule. $10 Fri.–Sat., $5 with student ID, children 12 and under free. Free on Sunday. KELTON SEARS
SE ATTLE WEEKLY • FE BRUARY 12 — 18, 2014
eattle hip-hop is on the verge of a tipping point. You could say that things started to shift the moment Macklemore accepted his four Grammys, but that would undercut the massively talented community that’s been stewing in the Northwest long before the rapper put on a fur coat and pulled off The Heist. The pressure valve for hip-hop in this town is reaching new barometric heights with young artists like Kingdom Crumbs, Porter Ray, Key Nyata, Keyboard Kid, Kung Foo Grip, and the entire Moor Gang all ready to break out at any moment. What’s more, established acts like the Physics, RA Scion, and Baba Maraire are putting out some of the best music of their careers. Lucky for us, we have 206 Zulu continuing to foster this community. A volunteer-run nonprofit based in the Central District’s historic Washington Hall, 206 Zulu was created to “promote peace, unity, love, and having fun through the utilization of Hip-Hop culture.” The group educates youth inside and outside the classroom about the history of Northwest hip-hop, helping young people explore the transformative power of the art form and the culture around it. The organization’s reach extends into schools, juvenile detention centers, and Seattle Children’s Hospital. Beyond the educational component, the group has hosted performances, workshops, community forums, and summits. With
57
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With Acoustic at the Ryman out this week, BAND OF HORSES, who started in Seattle before relocating to Ben Bridwell’s birth state of South Carolina, play a homecoming of sorts on this short acoustic tour to celebrate. With lots of talented friends in town, expect the unexpected. BOH have never shied away from spontaneity. The Moore, 1932 Second Ave., 467-5510, stgpresents.com. 8 p.m. $31. DL In the second half of the 1970s, THE COMMODORES, led by Lionel Richie (and some kick-ass afros), dominated the AM radio dial with their smooth R&B ballads (“Easy,” “Three Times a Lady”), but their funk was just as potent (“Brick House”). Richie left ages ago, but a few original members are still out on the road and still putting on a high-energy live show. Snoqualmie Casino, 37500 S.E. North Bend Way, Snoqualmie, 425-888-1234, snocasino.com. 7 p.m. $30–$60. 21 and over. DL Since her radical transformation from Disney teen queen to twerktastic exhibitionist, MILEY CYRUS has cut a polarizing figure and touched a real nerve in mainstream American culture. The only demographic that can’t keep its eyes off her are those who look away with revulsion—but you know they’re peeking anyway. With Icona Pop. Tacoma Dome, 2727 E. D Street, Tacoma, 253-272-3663, tacomadome.org. 7 p.m. $41.50. CORBIN REIFF ALICE SMITH has a style all her own. Her versatile voice spans genres and eras—part R&B, part soul, and part
Motown. Her fashion sense is also worth mentioning: It’s on display in January’s InStyle magazine. Tractor Tavern. 8 p.m. $20. MICHAEL F. BERRY
Monday, Feb. 17
Started by rapper Nocando, the roster on Los Angeles– based label HELLFYRE CLUB SHOWCASE is a club of sorts; it’s similar to the open-mike Project Blowed, which spawned Busdriver, one of the label’s current MCs. Confused yet? Don’t be. These MCs are smart (Milo studies the philosophy of language), hilariously self-effacing (Open Mike Eagle asks listeners to “respect my qualifiers”), and versatile lyricists. All four of these MCs perform tonight. Crocodile. 8 p.m. $15. MFB The difference between pop and electronica is nearly indistinguishable these days. Los Angeles singer/ songwriter BANKS advances the idea with R&B-diva vocals and a smoldering, downbeat production akin to James Blake’s. As she serenades sweetly behind wallowing glitch beats, Banks finds herself embracing the darkness of both genres. With Life Leone. Lo-Fi Performance Gallery. 8 p.m. $7. 21 and over. DH GREG LASWELL’s just-released I Was Going to Be an Astronaut contains stripped-down, reworked versions of fan favorites. Over the years, the songs have evolved, he says, and the new album captures that evolution. Better hurry if you want to go to the show, though; most of the tour is already sold out. The Triple Door, 216 Union St., 838-4333, thetripledoor.net. 7:30 p.m. $18 adv./$20 DOS. DL
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hen Seattle Weekly spoke with Royal Teeth frontman Gary Larsen in June, the Louisiana-based indie dance-pop quintet he leads with singer Nora Patterson was preparing to release its debut album, Glow (it dropped in August). Everyone in the group had already quit their day jobs and devoted themselves full time to the band—this brought about the EP Act Naturally; an anthemic single, “Wild”; and an appearance on Carson Daly—but the group was still eager to do more. “We hope by the time this record comes out and we look back on another year,” Larsen said at the time, “we’ll feel like we’ve moved forward even farther.” Fast forward to today, and seven months of touring—not to mention appearances in ads for Buick and State Farm—has been a boost for the band. “It feels really great to have built up to the point where we have an entire album of music for people to listen to and people are coming out to see the shows,” Larsen says. “It’s that slow climb, but we’re at the point now where we’re really starting to see results.” The band recorded Glow with award-winning Canadian producer Gavin Brown, who’s worked with, and helped garner awards for, the likes of Metric, Lady Gaga, Sarah Harmer, and others. In June, Larsen discussed the process of working at Brown’s studio in Toronto, far from the humid climes of the band’s native
South. “A lot of people say when they listen to our music, there’s a very bright and positive vibe, it’s very colorful music. But we recorded [the new album] in Canada during one of the coldest winters they’ve had in years.” The climate helped inspire the tone of the record, Larsen says, imbuing it with more intimacy than Act Naturally while retaining “the bright, positive nature of our music.” Larsen is an accurate spokesman—the album is a collection of songs that inspire thoughts of love and adventure, heavy on
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percussion and sing-along-ready choruses; Larsen and Patterson’s pretty vocals harmonize well while each shining on their own. Yet true to Royal Teeth’s ambition, Larsen is already looking ahead, anxious to expand his band’s sound on the next album, on which he hopes to capture the energy of its live show. Back on tour for now, Larsen remains open to whatever the future brings. “We really don’t have a feeling of how far we can go,” he says. “But if it’ll keep going, we’ll keep pushing it.” With Chappo, Hibou. Neumos, 925 E. Pike St., 709-9442, neumos.com. 8 p.m. $18 adv. 21 and over. AZARIA C. PODPLESKY
arts&culture» Music 1303 NE 45TH ST
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named closer “Together Now.” The duo also made the album, produced by David Kosten (Bat for Lashes, Everything Everything), a family affair, with siblings contributing to the recording process, including additional vocals from Pepperell’s sisters on the bouncy “Unkind (A Tougher Love).” Thumpers, which signed to Sub Pop in September and opened for Scottish electro-pop band Chvrches in the fall, has made a joyful first statement with Galore, an album bound to make the band’s U.S. debut a strong one. AZARIA C. PODPLESKY
The Presidents of the United States of America, Kudos to You! (2/18, self-released,
presidentsrock.com) The Sultans of Silly are back with their first new record in six years, and the trio hasn’t lost a step. Combining elements of grunge, alternative rock, punk, and power pop as seamlessly as ever, PUSA winds its way through 13 glib tracks that celebrate everything from the great state of Ohio to the harpooning of the rich and elite (“Good Morning Tycoon”). The sexy bass line, groovy guitar, and thumping drums on the opener “Slow Slow Fly” are reminiscent of those of “Seven Nation Army,” and they even throw some surf rock and psychobilly into the mix on “Finger Monster.” Bassist and lead singer Chris Ballew is charismatically off-kilter throughout, belting out a litany of tongue-in-cheek clichés in the quickpaced country-rock parody “Poor Little Me.”
of multicolored glitter and gumdrops while continuing to be a badass. High points include “Crimson Wave” (for its laughable, and all too true, description of that monthly visit with Aunt Flo) and “Alien Girl,” for its killer guitar intro, doo-wop-meets-garage-pop delivery, and cheeky opening line “I don’t like your dad/Your dad don’t like me.” Elsewhere, the music is as sweet and sticky as the album cover suggests—a field of gumballs. Chew it up. (2/14, Chop Suey)
The Yev, I Wanna Hollywood (out now, selfreleased, yevtushenko.bandcamp.com) Formed in November 2012, this Seattle troupe has released three EPs and this 13-song debut LP. In the hands of less capable musicians, quantity might result in compromised quality; however, with Hollywood, The Yev has expanded its sound. On its debut EP, Do, the trio projects
KEEGAN PROSSER
TacocaT, NVM (2/25, Hardly Art Records, tacocatdotcom.com) Listening to Seattle-based pop-punk act TacocaT, it’s kind of hard not to have a great fucking time. Maybe it’s the band’s brash garage-rock sensibility. Or its hilariously honest lyrics about surfing the crimson wave. Or the make-you-smile-while-you-dance pop arrangements. It’s the combination of all these that make it equally confusing and completely understandable when TacocaT describes itself as both “feminist sci-fi” and “equal parts Kurt and Courtney.” The trend continues on the quartet’s new release, which strikes gold with a mixture of cupcake-meets-hot mess, resulting in a lo-fi, high-energy collection of songs that make you feel as if you can live in a world
(vocals, bass, and drums) came from indie-rock trio Pull Tiger Tail, and have been playing together since their teens. The duo finds lyrical inspiration in those coming-of-age years—for example, the slower, reflective “Now We Are Sixteen,” which includes London-based indiepop duo Summer Camp, call-and-response vocals, and lyrics like, “Everything seems better when we’re 16.” There’s a communal sense to Galore ’s layers of sound and the group vocals on several songs, including the aptly
a punk/garage-rock ethos through a variety of experimental electronics, and the resultant noise was an integral part of the package. The new album experiments with melody and rhythm instead of noise—a shift most evident when comparing the versions of “One Cup of Coffee” on both Do and Hollywood. On the original, the band livens up a two-chord guitar riff with noisy waves of distortion and feedback, supported by rumbling drums; it relies too heavily on effects for effects’ sake, while the new arrangement gets rid of most of the distortion and the drummer lays down a more conventional rock beat. The feeling adds to the album’s overall tone, which is something like Sleater-Kinney meets David Bowie. The opening track, “Well of Time,” features a straight-ahead rock riff in the guitar while the drums and vocals emphasize different beats, resulting in a danceable song that does its best to trip you up. Lyrically, the album is rather minimal, with many songs consisting of only a few repeated lines; “Bright,” for instance, begins with the words “I see bright inside/I feel bright inside/I am bright inside.” But the themes of vulnerability and self-esteem that pervade Hollywood add emotional weight. For a band that’s been together only a short time, The Yev continues to test musical boundaries in interesting ways. MICHAEL F. BERRY
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SE ATTLE WEEKLY • FE BRUARY 12 — 18, 2014
His delivery of the part-English, part-Spanish lyrics in “Rooftops in Spain”—including a blink-and-you’ll-miss-it reference to Lynyrd Skynyrd’s “What’s Your Name”—is spot-on. The band’s humorous streak abounds with tales of pint-sized creatures waging epic wars (“Flea vs. Mite”) and an acoustic-rock love song to Crown Victorias that would make Chuck ’s John Casey smile. Two decades after it formed, PUSA has nothing left to prove, except that it still knows how to make you mosh and laugh simultaneously better than any band out there. And hey, if these dudes can do that by using a beer keg as a metaphor for both an unhealthy relationship and oral sex (“Stay With Me”), then kudos to them. (2/15, The Showbox; 2/16, The Triple Door) BRIAN PALMER
Thumpers, Galore (out now, Sub Pop, thumpers.co) In just an eight-word Twitter bio— “POP IN THE SOUL & EXPERIMENTAL IN FORM”—London-based duo Thumpers has nailed the description of its sound. Its debut, Galore, is bright and poppy, with big, sing-along-ready choruses and colorful keys, but it’s also more than a few steps off the beaten path with songs like “Tame,” which begins with what sounds like someone breathing heavily to the beat, features a chant-like chorus, and ends with a guitar riff manipulated to sound almost like a bagpipe. Thumpers was formed in 2011, but Marcus Pepperell (vocals, guitar, and piano) and John Hamson Jr.
59
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FoodNews
Brimmer & Heeltap serves comfort in novel ways.
BY SARA BILLUPS
BY NICOLE SPRINKLE
J
ust over a month in, Brimmer & Heeltap has already achieved what every
KYU HAN
restaurant hopes to: a full house by 7 on a Friday night, a few diners hovering in the doorway waiting for tables. The atmosphere is ebullient—an extension of the personality of proprietress Jen Doak, a bubbly but down-toearth presence who’s scampered about the Seattle hospitality scene for years. We’re surrounded by what are obviously locals from the neighborhood as well as families and hipsters: the perfect storm of a clientele. The restaurant’s name, Doak tells us on an early visit before they open, refers to the first sip of your drink (The Brimmer) and the final swig (the Heeltap). So much can happen over the course of a cocktail, she explains: engagements, breakups, business deals . . . Housed in the space made famous by the since-departed La Gourmand, the restaurant is far off the beaten Ballard path, situated instead on the residential corner of Sixth Avenue Northwest and Northwest Market Street, across from Slate coffee and Veraci pizza. Its bright, lively interior makes you want to run out and rent an apartment on the same block: lots of painted white wood, a shiny copper floor comprising pennies donated by Doak’s friends, funky white bar seats made from the ripped-up remains of vintage leather chairs, pine cones spaced evenly on shelves, and tables close together in that New York kind of way. You want this to be your neighborhood spot. But there’s more to that sentiment than its quirky, warm decor. For starters, the menu from chef Mike Whisenhunt (Revel, Joule) gives a small and large option for every entrée, which means you can try many things and not break the bank. (This » PRICE GUIDE is one of my favorite
Owner Jen Doak and chef/co-founder Mike Whisenhunt
food@seattleweekly.com
Temperature Check BY NICOLE SPRINKLE,
FOOD & DRINK EDITOR, SEATTLE WEEKLY
» CONTINUED ON PAGE 63
More restaurants offering lunch service. It’s a great way to try some pricer places.
Serving cheese or spreads with too few pieces of bread or crackers. Why skimp on the cheaper part?
Desserts as afterthoughts. Too many great restaurants seem to think their job is over after the entrée. Dessert is still part of the meal!
SE ATTLE WEEKLY • FE BRUARY 12 — 18, 2014
From left: daily toast; roasted chuck steak; bun; chocolate mousse.
have the pork shoulder with caramelized kimchi at Brimmer & Heeltap tonight.” Diners may even come in just for the toast special, which is becoming the menu item du jour nationally. It changes often on Whisenhunt’s menu; we enjoyed a piece with housemade ricotta, anchovy, long pepper, lemon pepper, capers, and olive oil. For just $3, there’s what Doak likes to call “Texas Toast,” a super-simple thick slice of grilled white bread, well-buttered. It proved essential not only because everyone loves buttered toast, but because it can be used to sop up the juices from many a delicious dish. On one of our nights there, the browned bread was the vehicle used to savor every last bit of the Kashmir curry with salsa verde once the nicely cooked rockfish and poached prawns it was served with were gone. The braised turnips with a warm apple-cranberry vinaigrette and pork cracklings is another “house” dish that’s worth a try. I’m a huge turnip fan, and the first time we tried it, it was incredible. The second time, it desperately needed some salt and could have used more cracklings. The chilled Dungeness crab trifle is popular too, and is what it purports to be—a savory take on a classic dessert. Crab and Brussels sprouts are
1.KYU HAN, 2.NICHOLE SPRINKLE, 3. NATAWORRY PHOTOGRAPHY, 4.NICHOLE SPRINKLE
ences at Revel and Joule and applied them to comfort-y bistro-style food. It’s almost its own category: Call it Korean fusion comfort food. Take the buns, for instance, a spin on the baked buns stuffed with pork you often find at dim sum. His, however, are packed with kobocha, glazed with sherry, and topped with walnuts and seaweed crumble. Served warm, they’re hearty, yet also showcase the really interesting flavor profile of the sweetish squash and the ever-so-slightly briny seaweed. You wish, like with cookie dough, that you could keep a stash of them in your freezer for BUNS ......................................................................$2 BRAISED TURNIPS ...................................$7/$13 late-night snacking or dining trends of late.) BROILED PORK SHOULDER STEAK .... $9/$17 surprise guests. People in There’s also a “Late ROASTED CHUCK STEAK ...................... $9/$21 CHILLED DUNGENESS CRAB TRIFLE ......$16 the vicinity, I’m sure, will Night” menu, available CHOCOLATE MOUSSE PARFAIT ..................$6 come for a craft cocktail 10 p.m. to midnight, or local brew and an that includes items like pickled oyster shooters, steak tartare with daikon, order of buns on a ho-hum Tuesday night. Or they should, anyway. Which leads me to another sesame oil vinaigrette and nori rice crackers, goat point . . . with black lentils, and a “Family Meal”—read: This restaurant, with its somewhat disarmwhatever the staff ate that night. ingly small menu, is really about staple dishes The food itself is homey, but with just the (like the buns). I expect trips here to be preceded right splash of sophistication and subtle Asian not by the suggestion that we “go to Brimmer accents. Whisenhunt seems to have taken & Heeltap for dinner tonight,” but that we “go some of the best elements of the Korean influ-
Bauhaus opened in new (temporary) digs at 414 E. Pine St., a block east of its former space. The cafe plans to return to a revamped storefront at its original 301 E. Pine St. location sometime in 2015. Ballard’s Stoneburner rolled out its weekly Meatball Monday special. From 5–10 p.m., plates of thin or fat noodles, red sauce, and a big meatball are offered for $10 and can be paired with Sangiovese for $5 a glass or $15 a carafe. You have a few days left to fit in a farewell meal at Madison Park Conservatory. The restaurant announced plans to close its doors for the last time February 15. Chef Cormac Mahoney is planning a final Valentine’s Weekend menu for February 14–15; book a table for the $75 meal online. Admiral Bird set up shop in West Seattle, on the corner of California Avenue Southwest and Southwest Admiral Way in the front portion of florist Flower Lab. In addition to espresso, you’ll find pastries and light lunch fare. Beans come from Tumwater’s Raven’s Brew. Barnacle, Renee Erickson’s tiny bar next to The Walrus and the Carpenter in Ballard, now reserves its back booth for up to eight diners. The nightly prix fixe meal is $50, with wine and cocktail pairings available for $22. E-mail thebarnaclebar@gmail.com or call 706-3379 to reserve a space at the table. E
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food&dining» » FROM PAGE 61 layered among custard and brioche. While this isn’t my kind of dish—I’m not a fan of cold soups or cold, creamy things that aren’t sweet—I appreciated its delicate flavor, and can see how it’d be enjoyable on a hot day on the restaurant’s yet-toopen back patio. The roasted chuck steak was both interesting and tasty: Served with a shio kombo (rehydrated seaweed) salad with truffle oil and mustard seed, the rare slices of meat combined with the mustard lent a pastrami-sandwich kind of flavor that grew on me. Unfortunately, the rabbit crepinette was a disaster. The meat is braised with onion and spinach and eventually wrapped in the caul fat. What resulted was overcooked rabbit and a greasy, gelatinous mess. Attempts to offset that fattiness with an arugula salad with grapefruit, served with a lemon to squeeze over it, couldn’t save the terrible texture. But back to my point about house favorites: This just isn’t one of them. Sure, they’re going to add new dishes; some will stick and some won’t. But no matter: Brimmer & Heeltap already has enough winners on the menu to secure a loyal following. The dessert menu is notable—I’d even say
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pastry knowledge should take heed: Don’t try to get too fanciful with desserts if you can’t execute them well. Here they offer a chocolate mousse parfait topped with Earl Grey crumble that’s divine even though it doesn’t have any sugar in it (besides the sugar in the bittersweet chocolate). The ricotta parfait, too, is quite nice, topped with a kashmiri mandarin marmalade and some extra-virgin olive oil. The rice pudding parfait is the one fail. Rice pudding needs to be warm; otherwise it’s just a cold glass of sweet sticky goo. If you just aren’t into parfaits, there’s hot cocoa and a shortbread cookie. It’d be nice to see perhaps some other cookies or a couple more easily pre-prepped items join the über-curated offerings. Bottom line: Comfort food has long been passé, or merely an elevation of diner favorites. Brimmer & Heeltap, though, is proving that it can be something altogether different and delicious, even exotic—and the dining room’s vibe perfectly encapsulates that idea. This is a restaurant to which you’ll find yourself often defaulting—whether because you’re craving, say, the flavorful octopus soup with a dashi broth, or the room that feels like a happy family reunion just descended upon it. E
commendable—for what it lacks. There’s no pastry chef, and Doak and Whisenhunt made the bold decision to serve only cold parfaits, obviously because they can be made ahead of time. Other restaurants with chefs lacking good
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food&drink» Inside the Nerve-Wracking Sommelier Exam
P
anic set in on the third sip. Where was the fruit? Why couldn’t I pick out any minerality? Sure, there was a bit of the richness I’d anticipated, but the oak presence on the nose wasn’t showing through on the palate. What the hell was this wine? Frantically looking around the room, I saw my fellow examinees scribbling away furiously, lending more credence to the idea that I was doomed. “Breathe,” I told myself. BY ZACH GEBALLE “You have plenty of time to do this, just relax.” Yeah, right. I was about to fail this test, and it had only started two minutes ago. Welcome to the Certified Sommelier exam, the second of four levels one must pass to earn the prestigious title of Master Sommelier from the Court of Master Sommeliers. The test is offered at sites around the world to candidates who have passed the Introductory level-one test. Over the course of a year, hundreds if not thousands of aspiring sommeliers will have a full day of testing—and the related anxiety—which was preceded by months of study, practice, and discussion. Oh, and tasting a lot of wine. So I guess it wasn’t all bad. Those of you familiar with the documentary SOMM know that exams through the Court of Master Sommeliers consist of three parts: blind tasting, theory, and service. At the Certified level, the first two parts are written, while the service portion is conducted orally. Blind tasting was first, and while I was cautious and wary about all three sections of the exam, I felt most confident in tasting. I’d met with my tasting group regularly in the months leading up to the test, and in my practice
THEBARCODE
Given that the pass rate is somewhere around 60 percent, we all knew that some of us were going home unhappy. exams I’d done quite well. Of course, that all went out the window when the white wine was just . . . bland. I mean, it was a bit oaky, it had some elevated alcohol, and citrus notes, but not really anything else worth talking about. That said, trying to wake up my taste buds at 8:20 a.m. on a Sunday was itself a challenge. Fearing that I might overload my sense of taste (or burn my mouth), I’d forsworn my usual morning coffee, settling instead for a cup of warm green tea. Given that my stomach was churning too much to eat any breakfast, I was hoping for a bold and expressive wine to get me started. No such luck. Groping for a conclusion, I unenthusiastically settled on Napa chardonnay, and turned to the red.
Fortunately, the red wine smelled like a pepper grinder, was aggressively alcoholic, and was suffused with tons of American oak indicators like coconut and dill. Since Australian shiraz has all those flavor markers and is classically aged in new American oak, the wine might as well have said “G’day, mate.” Feeling a bit better, I turned to theory, which was straightforward and manageable—except that I spent way too much time staring at a graphic of a still (a device for distilling alcohol), trying to remember if it was an alembic or a continuous still. (It was an alembic.) I then had a bit of a break before my service exam—enough time to drink a cappuccino and (ironically) a beer. In that order. During my preparation, it was the service portion that I was most concerned about. Despite waiting tables for a living, I feared that all my hard-earned experience would go right out the window under the unique pressure of this test. After all, it’s not often that I serve a mediocre cava masquerading as tête de cuvée–level Champagne (since no one actually drinks the wine) to a single Master Sommelier at 11:30 a.m. in a brightly lit room where the other three chairs at the table are empty. Frankly, I’m glad I didn’t drop a glass (several test-takers did). Trying to appear poised and calm while your legs are shaking like “The Big One” has finally hit Seattle isn’t something I’m keen to try again. Making it relatively unscathed through the opening and pouring of the wine, I got ready to face The Inquisition. OK, maybe it was just some questions about wine pairings and cocktails, but it still scared the crap out of me. Of course I blanked on one cocktail, but to be fair, no one orders a Madras these days. With the test finished, it was time to retreat to the bar and discuss it with my fellow applicants, hash out where we went wrong, and silently assess our chances of passing. Given that the pass rate is somewhere around 60 percent, we all knew that some of us were going home unhappy. Finally, the magic hour came. Cruelly, we were
all herded back into the room where we’d taken the written exam, and after a brief “You all did great,” the names started. See, the Court likes to make you squirm a bit, so instead of just posting a list or notifying you individually, they read out names. If you hear your name, you passed: Step up to the front, shake some hands, get your certificate and a pin, and relish your Champagne. If not . . . Let me tell you, I can’t think of another time in my life when I’ve been happier to hear someone say “Zachary Geballe.” Though it took a few more hours (and several more drinks) for my nerves to settle, the combination of relief and exhilaration that ran through me at that moment was . . . well, it was a hell of a lot better than that white wine. E
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arts&culture» Making a Market Out of a Pool Hall
P
aulie G’s leads a double life. Monday through Saturday, it’s a pool hall and deli in Olympia. But every Sunday from 11 a.m. to 5 p.m., 10 of the pool tables are covered and filled with pungent jars of medical marijuana, cannabis-infused medibles, hash oil, and smoking accessories—the pool hall becomes a cannabis BY STEVE ELLIOTT farmers market. It’s no secret that I enjoy medical-marijuana farmers markets. As I never tire of pointing out, these markets represent the best of patient empowerment and true community, bringing together those who medically need cannabis
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My three spins yielded two good prizes: a hunk of medicated fudge and a huge heart-shaped piece of infused hard candy. E
tokesignals@seattleweekly.com
Steve Elliott edits Toke Signals, tokesignals.com, an irreverent, independent blog of cannabis news, views, and information.
PAULIE G’S MEDICAL-MARIJUANA FARMERS MARKET 527 Devoe St. S.E., Olympia. 11 a.m.–5 p.m. Sun.
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with those who grow the flowers, make the concentrates, and bake the medibles. Paulie G’s is a great example of what I’m talking about when I say true community. One of the first tables I encountered upon entering the pool hall was Mama Plenty’s jams (206-445-2811, mamaplenty.com), overseen by chef Kelli Brown. Sampling quickly reveals that Brown is a skilled jam maker; the delicious, natural flavors and delightful consistencies of her wares are just preludes to their medicinal effects. Brown told me she goes for a dose level of 10 milligrams of THC per ounce of jam; 4-ounce jars of flavors such as blueberry (THC), strawberry lemon (CBD), and strawberry lavender (THC) are $8 each, and a special super CBD cherry lemon jam is $15 for a 4-ounce jar. If you enjoy delicious homemade jams, these are an effective and pleasant way to medicate; taste samples were available right on Mama Plenty’s table.
Next table down was vendor Mark Nelson, purveyor of some of the finest oils and flowers available anywhere. Nelson was giving free sample dabs of his superlative Lemonesia (a hybrid of Super Lemon Haze and Amnesia Haze) BHO, and let me tell you, this stuff stands as an example of the way hash oil should be done. Its beautiful translucent yellow tint is the only hint you have that it’s about to knock your socks off; it just takes one dab of this stuff to get quite medicated. Another couple tables over was Peggy Button, who had a good selection of flowers and some incredibly pretty cannabis-infused cakes (sample bites were available, and tasty). I selected a $25 eighth-ounce of some fluffy Cinex, a sativadominant hybrid of Cinderella 99 and Vortex that is very effective against the nausea that plagues me. At an adjacent table was Kenny Hashmouf, who had not only some spectacular Green Crack shatter (of which he generously offered a sample dab; of course I accepted), but also some very comely Afgoo flowers. Afgoo happens to be a strain that addresses my symptoms as effectively as any other, so I got a quarter-ounce of the heavily trichomed, sweet-smelling flowers for $50. Arch D Jay provided suitably mellow music and also manned a roulette wheel for $2 a spin.
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Employment General MARKETING COORDINATOR The Daily Herald, Snohomish County’s source for outstanding local news and community information for more than 100 years and a division of Sound Publishing, Inc. is seeking a Marketing Coordinator to assist with multi-platform advertising and marketing solutions of print, web, mobile, e-newsletters, daily deals, event sponsorships and special publications as well as the daily operations of the Marketing department. Responsibilities include but are not limited to the coordination, updating and creation of marketing materials across a range of delivery channels, social media, contesting, events, house marketing, newsletters and working closely with the Sr. Marketing Manager to develop strategies and implement the marketing plan. The right individual will be a highly organized, responsible, self-motivated, customer-comes-first proven problem-solver who thrives in a fast-paced, deadline-driven environment with the ability to think ahead of the curve. We offer a competitive salary and benefits package including health insurance, paid time off (vacation, sick, and holidays), and 401K (currently with an employer match.) If you meet the above qualifications and are seeking an opportunity to be part of a venerable media company, email us your resume and cover letter to hreast@soundpublishing.com No phone calls please. Sound Publishing is an Equal Opportunity Employer (EOE) and strongly supports diversity in the workplace. Check out our website to find out more about us! www.soundpublishing.com
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AND BARBITUATES
WE ARE SCHEDULING INTERVIEWS FOR DIRECT MARKETING REPS
Help us Keep Trees Safe & Beautiful! The Tree Industry can provide you steady year round work. As a Marketing Rep for TLC4Homes Northwest Inc. you will help Generate Leads for Arborists employed by Evergreen Tree Care Inc. Our Arborists Provide Home Owners Free Estimates and Free Safety & Health Inspections for Tree & Shrub Trimming, Pruning & Removal Services. We Provide Paid Orientation, Marketing Materials, Areas to Work and Company Apparel.
Reps AVERAGE $30,000-$60,000/ YEAR Generating Leads for Tree Work.
OR EMAIL RESUME TO RECRUITING@TLC4HOMESNW.COM CORPORATE RECRUITING DEPT. FOR SNOHOMISH, KING, PIERCE, KITSAP & THURSTON COUNTY 855-720-3102 EXT. 3304 OR 3308
Dry & Custom-Split Alder, Maple & Douglas Fir
Speedy Delivery & Best Prices!
425-312-5489
Miscellaneous
CASH FOR CARS Running or Not We pay the most! Pickup right away!
206-307-3092
MERCER ISLAND
SUNDAY, FEBRUARY 16th - One Day Only! Noon - 4 p.m., 7440 86th Ave SE, Mercer Island, 98040. Moving Sale: Antiques, Appliances, Retro Audio Visual and Stereo Equipment, Furniture and More!
Auto Events/ Auctions
AM-PM TOWING INC
Abandoned Vehicle AUCTION!!! 2/21/14 @ 11AM 3 Vehicles
UPHOLSTERY SHOP Closed. Everything On Sale! Sewing Machine, Tools, Fabric, Air Compressor and More. $4,500 Takes All! 206660-7770
Classified Ads Get Results!
1993 MERZ 4004D ACN9947 1998 INFINITY 1304D AEJ4184 1997 BUICK REG4D AKG1641
Preview 10-11AM 14315 Aurora Ave N. Sport Utility Vehicles Suzuki
WANTED: SUZUKI Samuri, soft or hard top. 4WD, 5 speed, any condition! Private buyer. Cash in hand! Dan, 360304-1199, brennan.dan44@gmail.com
THE NORTHWEST!
Alternative Therapies, for pain, all qualifying conditions a healthier means of achieving your goals.
FILL OUT OUR ONLINE APPLICATION AT: WWW.TLC4HOMESNW.COM
A+ SEASONED FIREWOOD
Garage/Moving Sales King County
filtering the best of
OPEN ON SATURDAYS (1) Original Patient Watermark aka “green card” (1) Original Designated Provider Watermark 24 HOUR VERIFICATION WEBSITE 360-275-2004 Located in AVOID STRONG OPIATES Belfair
Work Outdoors- Year Round Work. Set your own schedule- Work Part time or Full time. Travel, Cell Phone, Medical Allowance Available. We do require a Vehicle, Driver’s License, Cell Phone & Internet Access in order to be considered for our Position.
Firewood, Fuel & Stoves
instagram.com/
SE ATTLE WEEKLY • FE BRUARY 12 — 18, 2014
>> tokesignals.com
Greenlake/WestSeattle $400 & up Utilities included! busline, some with private bathrooms • Please call Anna between 10am & 8pm • 206-790-5342
University District 3 bedroom apts available for rent. 206-441-4922 9am–2pm
$
Toke Signals with Steve Elliott
Firewood, Fuel & Stoves
Studio in Ravenna for rent $750 206-441-4922
WA Misc. Rentals Condos/Townhomes
Classified @ 206-623-6231, to place an ad
WA Misc. Rentals Rooms for Rent
U-DISTRICT $450-$550 All Utilities Included! Call Peir for more info (206) 458-0169
PAKALOLO MEDICAL AUTHORIZATIONS YOUR LEGALLY DEFENSIBLE RECOMMENDATION
Your source for uncut, uncensored, no-holds-barred, non-corporate-controlled cannabis news.
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67
ADOPTION
Do you have PTSD and alcohol problems?
Devoted, nurturing, loving gay couple in Seattle, looking to adopt first baby into a family offering education, fun, travel, laughter, and unconditional love and support.
Seeking free treatment?
Call
Classified
@ 206-623-6231, to place an ad Bullied at work? Or even “mobbed� by bullies and their allies? Counseling support helps. (206) 364-6297
Explore Your Options! Get career-focused training. Day and evening schedules. Call Everest: 1-888-443-5804 www.StartEverest.com Famed Fleetwood Mac Guitarist Jeremy Spencer at Fantagraphics Bookstore/Georgetown Records! Saturday, February 22 6pm-8pm Spencer will play songs from Bend in the Road and the forthcoming Coventry Blue LP, in advance of his show at the Columbia City Theater Sunday, Feb.23rd. Spencer’s original artwork will also be on display for the occasion. Don’t miss this amazing evening of art, comix and music! 1201 S Vale St. Seattle, WA 98108. (206) 658-0110 HomeWell Senior Care Franchising is growing! Recession proof business. Only 8 available territories in Western Washington. $85K Initial investment includes Franchise Fee. Next Step: Visit www.HomeWell.biz
MOST CASH PAID 4 GOLD JEWELRY 20%-50% MORE 24/7 CASH 425.891.1385
WWW.KIRKLANDGOLDBUYER.COM
Psychic, Palm & Tarot Card Readings $15 Special. 425-789-1974
Seasonal Allergies? Are you allergic to Pollen, Weeds, Food or have other allergies? Earn $100 for each qualified plasma donation. Call Today! 425-258-3653
www.plasmalab.com
Singing Lessons
FreeTheVoiceWithin.com Janet Kidder 206-781-5062
Paid research opportunity. Call the APT Study at 206-543-0584.
Call, TEXT, or email anytime about Kyle & Adrian; 971-238-9651 or kyleandadrianfamily@gmail.com or visit kyleandadrianadoption.com
ACTIVIST JOBS! Work with Grassroots Campaigns, Inc. to: • Protect our Civil Liberties • Fight for Reproductive Rights • Fight for LGBT Rights • Defend a Woman’s Right to Choose
Earn $1600-$2400 per month Full-time/ Part-time/ Career. Call Aaron at 206-329-4416
$ TOP CASH $
PAID FOR UNWANTED CARS & TRUCKS
$100 TO $1000
7 Days * 24 Hours Licensed + Insured
ALL STAR TOWING
425-870-2899
WANTS TO purchase minerals and other oil & gas interests. Send details to P.O. Box 13557, Denver, Co 80201
aUR@N[Q`<[YV[R P\Z Career Training
The choice is yours ...
If you want to change your life for the better, choose career training from Everest College!
CALL TODAY!
... choose 1-888-443-5801 to succeed! www.StartEverest.com 3 LOCATIONS: #SFNFSUPO t 4FBUUMF t 5BDPNB
Programs and schedules vary by campus. For useful consumer information, please visit us at www.everest.edu/disclosures.
10338 Aurora Ave N, Seattle
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HAPPY HOUR MONDAY p ½ OFF DOOR 11PM-4PM 2,4,1 TUESDAY p 2 FOR THE PRICE OF 1 @ THE DOOR BOEING RECOGNITION WEDNESDAY p½ OFF DOOR* MICROSOFT RECOGNITION THURSDAY p ½ OFF DOOR* MILITARY FRIDAY p½ OFF DOOR* *I.D. Required American Liberty Adult Store
Select from a variety of DVDs, Mags, and Toys. Buy, Sell, Trade!!!! Ask Clerk for details about how you can save $$$ on your next purchase.
www.seadancingbare.com OPEN MON-SAT: 11AM - 2:30AM & SUN 2PM - 2:30AM
Proof Due
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